THE 


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HANDBOOK 


The  Theatre. 


The  prejudice  which  formerly  existed  against  the  thea 
tre,  in  the  minds  of  many  well  meaning  people,  has  gradu 
ally  worn  away;  and  in  this  enlightened  age  there  are  very 
few  who  do  not  recognize  the  power  of  the  drama,  not  only 
as  a  means  of  harmless  amusement,  but  also  as  an  educa¬ 
tor,  both  to  the  auditor  and  the  actor.  There  is  hardly  a 
village  in  the  land  that  has  not  its  amateur  dramatic  com¬ 
pany,  and  in  almost  every  instance  it  is  a  source  of  pleasure 
and  profit.  There  is  an  old  saying  that  whatever  is  worth 
doing  at  all  is  worth  doing  well;  and  we  trust  that  the  sug¬ 
gestions  contained  herein  will  assist  many  aspirants  for 
histrionic  honors  to  act  well  their  part  •i. 


How  to  Organize. 


If  it  is  the  intention  to  produce  modern  sod  'ty  come¬ 
dies  and  dramas  the  company  should  consist  of  not  less  than 
five  ladies  and  seven  gentlemen.  There  are  many  plays  that 
are  well  adapted  to  amateur  production  that  can  be  played 
with  a  considerably  smaller  cast;  but  this  number  should  be 
*  available.  A  general  manager,  a  stage  manager,  a  prompter, 
a  property  man  and  a  musical  director  should  bo  appointed, 
and  to  them  should  be  left  entirely  the  work  that  apper¬ 
tains  to  their  respective  positions.  In  other  words,  don’t 
interfere  with  them  in  any  way.  “Too  many  cooks  spoil 
the  broth”  is  a  homely  maxim;  but  it  is  a  true  one,  and 
nowhere  doe3  it  apply  with  greater  force  than  in  the  man* 
agernent  of  amateur  theatricals. 


The  Manager. 


When  a  play  is  to  be  produced  there  are  two  things  to 
be  considered:  One  its  artistic  success;  the  other  its  finan¬ 
cial  success,  and  on  the  manager  of  the  enterprise  depends 
the  latter.  He  mu9t  be  a  thorough  business  man  with 
original  ideas — energe  ic,  ambitious  for  the  success  of  the 
venture,  a  ‘‘good  fellow,”  who  can  gain  the  friendship  of 
all  classes,  from  the  editor  of  the  great  daily  to  the  boy  who 
“peddles  the  programs.”  As  a  rule  amateur  entertainments 
are  given  for  the  benefit  of  some  charitable  organization,  or 
public  institution;  and  in  the  advertising  matter,  both  in 
the  newspapers  and  on  the  bill  boards,  the  manager  who  is 
wise  will  make  a  strong  feature  of  the  benefit.  People  like 
to  be  charitable  when  they  can  get  something  for  their 
money  besides.  Have  your  hanger  printed  something  like 
this:— 

Feed  the  Hungry! 

Grand  Dramatic  and  Musical  Entertainment,  given  by  the 
(insert name  of  Co.) 

For  the  benefit  of 

(insert  beneficiary.) 

Opera  House! 


(date. 

Special  Production  of  the 

(name  of  play) 

With  the  following  excellent  cast  of  Characters, 
(cast.) 

A  Pleasing  Performance  at  Popular  Prices! 
Reserved  Seats  now  on  Sale  at  and  from  members  of 

the  Company 
Admission. 

Have  Placards  printed  reading  — 

This  House  For  Sale  I  * 

To  raise  money  to  see 

(insert  name  of  Co.) 

Suggestions  for  other  advertising  schemes  might  be 
continued  indefinitely,  but  lack  of  space  forbids.  The 
great  aim  should  be  novelty.  The  public  has  seen  the 
stereotyped  billing  matter  so  often  that  it  has  ceased  t« 
attract;  and  the  originator  of  a  novel  idea  in  advertising  ir 
sure  to  reap  a  rich  reward. 


Begin  to  advertise  at  least  three  weeks  before  the  date 
of  the  performance.  Keep  at  it.  It  is  easy  to  let  people 
know  of  the  entertainment.  Don’t  let  them  forget  it.  Use 
the  newspapers  as  much  as  possible.  The  press  is  always 
kindly  disposed  to  local  affairs,  especially  when  they  are  for 
the  benefit  of  a  worthy  object,  and  if  matter  is  furnished 
them  that  is  readable  they  will  gladly  print  it.  Use  every 
legitimate  means  to  attract  the  attention  of  the  public  to 
the  entertainment,  and  you  will  surely  have  the  satisfaction 
of  seeing  the  “Standing  Room  Only”  sign  in  the  theatre 
lobby  on  the  evening  of  the  performance. 

The  Stage  Manager. 

Great  care  should  be  exercised  in  choosing  the  stage 
manager,  for  he  is  an  autocrat  from  whose  decisions  there 
are  no  appeals.  From  the  necessity  of  the  case  his  com 
mands  must  be  obeyed,  and  promptly,  too.  He  should  have 
a  technical  knowledge  of  the  stage  and  stage  business.  He 
.should  be  sufficiently  well  versed  in  elocution  to  amend 
faulty  readings,  and  know  enough  of  Webster  and  Lindlej 
Murray  to  correct  wrong  pronunciations  and  grammatical 
errors.  He  should  possess  a  nice  eye  for  color  and  stage 
effects  generally.  He  must  cast  the  play.  And  here  is  fre¬ 
quently  his  most  unpleasant  duty.  It  is  natural  for  the 
actor  to  desire  to  play  good  parts;  and  in  an  amateur  com¬ 
pany  where,  as  a  rule,  the  expenses  are  shared  equally  by  the 
members,  it  may  sometimes  seem  unjust  that  one  should 
have  the  star  role,  while  another  has  to  content  himself 
with  “My  lord,  the  carriage  waits.”  However,  as  on  the 
stage  of  life,  someone  must  be  satisfied  with  an  inferior 
position,  and  the  audience  will  not  be  slow  to  recognize 
true  merit  even  if  the  part  contains  only  a  few  lines.  It  is 
frequently  a  good  idea  to  cast  the  ones  who  have  the  small 
parts  at  one  performance  for  the  more  important  ones  at 
the  next.  In  this  way  every  member  of  the  company  may 
at  some  time  during  the  season  appear  in  roles  of  promi¬ 
nence,  and  have  an  opportunity  to  show  the  talent  that  is  in 
him. 

9  After  the  parts  have  been  assigned  and  distributed,  a 
reading  rehearsal  should  be  called.  When  the  time  comes 
for  it,  begin  promptly,  even  if  two  or  three  are  absent.  If 
they  have  any  pride,  perhaps  they  will  not  be  late  next  time. 
Hhow  the  people  their  positions,  exits,  entrances,  business, 


etc.  If  they  do  not  get  them  right  the  first  time,  show  them 
again.  Be  thorough.  Never  allow  yourself  to  get  out  of 
tiumor.  Be  pleasant,  but  firm.  Insist  on  perfect  order. 
After  the  reading  rehearsal  call  the  next  one  two  or  three 
evenings  later,  and  request  that  it  be  “rough  perfect.”  See 
that  all  the  business  of  the  play  is  carefully  done.  Five 
rehearsals  should  be  sufficient  for  any  ordinary  piece;  and  at 
the  last  two  the  actors  should  be  perfect  in  their  lines.  All 
properties  should  be  in  place,  the  music  should  be  played, 
and  all  the  effects  used.  If  a  costume  play,  it  should  be  a 
dress  rehearsal  in  order  that  the  people  may  become  accus¬ 
tomed  to  the  dresses  worn,  and  sure  of  the  time  they  have 
for  their  changes.  In  a  word,  the  last  rehearsal  should  be  as 
perfect  as  though  there  were  an  audience  in  front.  On  the 
eveningof  the  performance  see  that  everyone  appearing  in 
the  play  is  made  up  at  least  ten  minutes  before  time  for  tho 
overture.  King  in  promptly.  Kaise  tho  curtain  on  time. 
Don’t  get  excited.  Keep  cool.  Allow  no  talking  behind 
the  scenes.  Guard  against  stage  waits.  Carefully  follow 
these  suggestions,  and  your  entertainment  will  surely  be  a 
success,  the  company  will  be  pleased  with  you,  with  each- 
other,  and  you  will  be  proud  of  them. 

The  Prompter. 

At  the  reading  rehearsals  this  official  has  nothing  to  do, 
but  at  any  time  when  the  actor  attempts  to  recite  his  part 
from  memory,  a  d  especially  on  the  evening  of  the  per¬ 
formance,  he  should  be  very  much  in  evidence.  A  good 
prompter  is  certainly  a  valuable  assistant,  but  a  poor  one  is 
worse  than  none,  and  a  company  had  better  dispense  with 
one  entirely  than  to  be  confused  by  one  who  has  not  a  thor¬ 
ough  knowledge  of  the  requirements  of  the  position.  Every 
actor  in  the  cast  should  have  his  or  her  lines  so  well  com¬ 
mitted  that  the  prompter  would  be  unnecessary,  but  as  few 
companies  care  to  dispense  with  his  services,  a  few  hinte 
may  be  valuable  to  the  lady  or  gentleman  who  fills  the 
position.  Take  your  place  in  the  first  entrance  near  the 
person  who  rolls  the  curtain,  and  have  a  bell  at  hand.*  £ou 
must  direct  the  raising  and  lowering  of  the  curtain  by  cer¬ 
tain  taps  of  the  bell,  which  must  be  understood  by  both.  In 
prompting  persons  on  the  stage  be  very  sure  they  need  it. 
The  portrayal  of  many  characters  requires  pauses,  and 
often  these  pauses,  an  i  the  action  connected  with  them,  are 


more  eloquent  than  words  can  possibly  be.  Be  careful  then 
and  do  not  spoil  someone’s  beet  scene  by  prompting  too 
soon.  Do  not  speak  loud  enough  to  be  heard  by  the  audi¬ 
ence.  If  you  are  near  the  speaker  a  whisper  is  sufficient, 
and  usually  a  whisper  is  all  that  is  necessary  even  across  a 
large  stage. 

To  the  prompter  belongs  the  duty  of  having  all  the 
shouts,  firing  of  guns,  breaking  of  crockery,  storms  of  wind, 
thunder  and  lightning,  properly  managed,  so  that  they  will 
well  fill  in  at  the  proper  moment.  The  prompter  should 
take  nothing  for  granted,  but  be  ready  for  every  emergency. 
The  most  perfect  actor  may,  at  a  most  unexpected  moment, 
become  embarrassed  and  forget  his  part.  Consequently,  un¬ 
less  the  prompter  has  his  eye  following  every  word,  a  hitch 
is  likely  to  occur  which  may  greatly  mar  the  scene.  Where 
amateurs  find  that  the  prompter  is  fully  up  in  his  business 
they  will  seldom  need  his  assistance,  for  it  will  give  them 
confidence  that  will  go  far  to  help  their  memory. 

The  Musical  Director. 

Good  music  has  much  to  do  with  the  success  of  the  en¬ 
tertainment.  Be  sure  that  your  selections,  both  incidental 
to  the  play  and  between  the  acts,  are  appropriate.  Don’t  play 
“Ta  ra  ra  Boom  de  aye”  or  “Johnny  Dugan”  through  a 
death  scene  nor  “How  Can  I  Leave  Thee”  in  a  comedy 
scene.  “The  Harp  that  Once  Through  Tara’s  Halls,”  with 
variations  is  a  beautiful  selection,  but  it  would  be  entirely 
out  of  place  between  the  acts  of  “lti  >  Van  Winkle.”  Al¬ 
ways  bear  in  mind  that  you  are  playing  for  the  scene,  and 
that  the  scene  ia  not  being  produced  for  your  music. 
Therefore,  if  you  are  playing  through  a  speech  make  it 
piano,  so  that  the  voice  of  the  speaker  will  easily  be  heard 
above  it.  If  you  cannot  pick  up  cues  instantly,  don’t  at¬ 
tempt  them  at  all. 

The  Property  Man. 

A  position  no  one  ever  wants,  and  yet  of  the  utmost  im¬ 
portance.  It  is  his  duty  to  procure  all  the  properties  nseff 
in  the  production  of  the  play,  a  list  of  th  m  having  been 
furnished  by  the  stage  manager.  He  must  look  after  the 
effects  needed:  such  as  thunder,  lightning,  rain,  lire,  etc. 
And  here  a  few  suggestions  on  how  these  things  are  Die- 


pared  maybe  valuable.  Almost  every  theatre  in  the  land 
has  its  rain  box,  its  thunder  sheet,  etc. ;  bat  for  the  benefit 
of  those  who  have  not  these  facilities  we  give  the  following 
directions. 

Rain. 

Cover  the  bottom  of  an  ordinary  flour  sieve  with  paper 
and  place  it  on  a  bass  drum.  Put  two  or  three  handfuls  of 
shot  in  sieve  and  work  it  around  on  the  drnm,  slowly  or 
rapidly,  to  increase  or  diminish  the  intensity  of  the  storm. 
This  will  produce  a  good  imitation  of  a  shower  of  rain. 

Thunder. 

Suspend  a  piece  of  sheet  iron  four  or  five  feet  long, 
fasten  a  handle  to  the  lower  end,  shake  it  softly  and  slowly 
at  first,  then  loudly  and  quickly.  This  produces  an  excel¬ 
lent  imitation  of  the  sound  of  thunder. 

Lightning. 

Where  special  scenery  is  used  the  appearance  of  forked 
lightning  can  be  produced  by  having  jagged  lines  cut  in  the 
horizon  or  sky  of  the  background,  and  covered  with  a 
gauze  the  same  color  as  the  scene.  When  the  stage  is 
darkened  a  strong  light  passed  quickly  behind  the  lines 
will  give  a  very  natural  effect  of  lightning.  The  easiest 
method  of  making  sheet  lightning  is  to  use  a  flambeau 
torch  filled  with  lycopodium.  This  torch  also  adds  greatly 
tc  the  effect  in  a  fire  scene. 

Wind. 

The  sound  of  wind  is  easily  produced  by  the  whirl  of 
an  old-fashioned  spinning  wheel,  turned  slow  or  fast  to 
suit  the  volume  of  sound  desired.  The  shrill  sound  is  well 
imitated  fay  a  small  tin  whistle.  These  two  effects  can  be 
‘/:^i42£€r.t'with  excellent  results. 

Snow. 

For  a  stationary  arrangement  to  produce  a  very  natural 
effect  of  a  snowstorm,  fasten  a  piece  of  ordinary  sheeting, 
nine  or  ten  feet  long,  to  two  batons.  Perforate  the  lower 
edge  with  a  row  of  holes  about  four  inches  long  by  one 
inch  wide.  Fill  with  white  paper  clippings  cut  very  small. 
&wii iux  it  in  flies  with  rones,  back  «*»d.  front.  By  raising 


and  lowering  back  end  a  shower  of  flakes  will  fall  to  the 
stage.  To  represent  a  snow  scene  realistically,  coyer  the 
stage  with  a  white  cloth,  and  fasten  white  cotton  to  set  stuff 
that  would  naturally  catch  snow  in  a  storm. 

These  comprise  the  usual  methods  of  producing  storm 
effects.  There  are  others  requiring  expensive  and  com  li- 
cated  machinery;  but  these  given  are  simple,  and  will  be 
found  serviceable  by  amateurs  and  professionals  as  well. 

Colored  Fires. 

The  following  recipes  are  guaranteed  to  give  entire  sat¬ 
isfaction,  as  they  are  copies  of  the  ones  used  in  the  leading 
theatres.  The  ingredients  can  be  obtained  in  any  drug 
store. 

Red  Fire, 

Nitrate  of  Strontia,  10  parts. 

Shellac  (coarsely  ground),  3  parts. 

Chlorate  of  Potash,  3  parts. 

Green  Fire. 

Nitrate  of  Barium,  12  parts. 

Chlorate  of  Potash,  3  parts. 

Shellac,  3  parts. 

Mix  well.  Use  for  a  quick  match  to  light  these  fires  a  strip 
of  celluloid  or  a  small  amount  of  the  chlorate  of  potash 
and  pulverized  sugar  mixed  in  equal  parts. 

The  Actor. 

There  is  a  trite  but  true  saying— “Nothing  good  without 
labor.”  Let  no  amateur  suppose  that  the  art  of  acting  can 
be  acquired  by  dreaming  over  it.  Success  can  only  be  at¬ 
tained  by  persistent  study.  Perseverance  often  brings 
what  the  world  regards  as  genius.  If  there  is  anything  in 
your  part  that  troubles  you,  don’t  avoid  it;  don’t  leave  it 
out  simply  because  it  is  difficult  to  perform.  Meet  it  and 
master  it.  Cultivate  confidence  in  yourself.  Many  make 
complete  failures  by  wanting  this  requisite.  Hesitation  is 
a  sign  of  weakness,  and  to  those  who  are  thus  affected  we 
advise  hard  Svudy  and  self  reliance.  Amateurs  frequently 
have  a  tendency  to  speak  too  quickly— in  short,  to  rush  a 
part.  In  this  way  they  often  cut  another  performer  out  of 
his  speech,  and  thus  cause  dissatisfaction.  This  rapidity 


gives  an  air  of  bustle  and  unevenness  to  a  performance 
whereas  everything  should  move  as  if  in  well  worn  grooves 
easily  and  smoothly. 

No  rules  can  be  given  as  to  the  best  methods  of  studying, 
Different  persons  have  different  ways.  Some  memorize  a 
part  by  reading  it  a  few  times;  others  require  close  appli¬ 
cation.  One  party  may  study  by  taking  one  sentence  at  a 
time,  going  from  one  to  another,  and  returning  to  the  be¬ 
ginning  of  the  speech.  Others  re-copy  the  part  and  find  it 
a  great  help  to  them.  One  of  the  best  methods  is  to  go 
carefully  over  a  part  three  or  four  times  just  before  going 
to  sleep,  and  referring  to  it  again  immediately  on  awaken¬ 
ing  in  the  morning.  Familiarize  yourself  thoroughly  with 
the  business  of  the  part.  Positions  and  business  often  sug¬ 
gest  the  lines  that  are  to  be  spoken  in  ;onnection  with 
them  Don’t  fall  to  learn  your  lines  (c  orrectly,  so  that  you 
will  have  no  difficulty  in  speaking  them  “trippingly  on 
the  tongue.”  Talent  or  even  genius  are  of  little  avail  un¬ 
less  you  are  perfect  in  your  part.  Forget  that  you  have 
hands  and  feet.  They  will  take  care  of  themselves.  Be 
certain  that  the  person  speaking  to  yon  has  finished  his 
lines  before  you  begin  to  reply.  Be  careful  to  speak  clearly 
and  distinctly.  So  many  of  the  plays  of  modern  .imes  aDd 
manners  are  now  produced  that  many  aspirants  for  dra¬ 
matic  fame,  both  amatc  ub  and  professional,  deem  it  unnec 
essary  to  pay  much  attention  to  the  study  of  elocution 
This  is  a  great  mistake.  No  one  need  let  his  everyday  con¬ 
versation  be  less  natural  because  he  has  learned  to  speak 
correctly,  to  emphasize  at  the  proper  place,  and  to  simulate 
by  tones  and  cadences  the  various  feelings  and  passions 
supposed  to  agitate  the  person  portraying  the  character. 
Stage  deportment  must  bo  free  and  void  of  all  affectation: 
It  is  not  possible  to  act  with  grace  except  by  forgetting 
the  audience  and  one’s  self.  Strive  to  be  natural.  The 
|t''r,rormer  who  can  make  his  audience  forget  that  they  are 
watching  a  play,  who  c^n  cause  them  to  feel  for  the  time 
that  they  have  before  them  a  scene  of  real  life,  is  the  one 
who  will  receive  their  plaudits  at  the  end,  and  whose  artis. 
tic  success  is  assured. 


Costumes. 

In  the  matter  of  costuming  great  care,  and  sometimes 
quite  a  little  self-denial  is  required,  for  many  performers, 
both  male  and  female,  are  apt  to  desire  to  make  their  ap¬ 
pearance  in  a  costume  that  may  be  entirely  unsuited  to  the 
part  th  y  are  playing,  and  so  odd  in  shape  or  color 
that  it  will  contrast  most  unfavorably  with  the  dresses  of 
the  rest  of  the  company.  To  insure  harmony  in  costume, 
where  a  dress  piece  is  produced,  it  would  be  well  to  leave 
the  entire  ordering  to  some  member  of  the  company  noted 
for  his  taste  and  knowledge  in  that  line.  However,  as  the 
writer  does  not  consider  costume  plays  adapted  for  amateur 
production  nothing  more  need  be  said  on  this  subject. 
Modern  plays  that  call  for  modern  dressing  will  be  found 
the  easiest  to  produce,  and  will  in  almost  every  instance 
give  much  the  best  satisfaction. 

Make-up. 

The  classical  Greeks  of  old  enacted  their  parts  with 
masks  held  over'their  faces.  These  had  either  a  tragic  or 
comic  expression  as  suited  the  part,  and  the  performer 
spoke  bis  lines  through  a  large  hole  where  the  mouth  was 
supposed  to  be.  There  was  no  chance  for  facial  display. 
The  same  lifeless  stare  would  haunt  the  spectator  through¬ 
out  the  performance,  and  would  settle  on  the  entire 
audience  like  monotony  itself.  The  make-up  of  the  actors  of 
the  last  century,  though  materially  modified  and  improved, 
was  very  crude  compared  with  the  beautiful  and  artistic 
tic  work  of  our  own  time.  This  gratifying  state  of  affairs  is 
due  principal  y  to  the  perfection  attained  in  the  manu¬ 
facture  of  theatrical  wigs,  grease  paints,  and  other  accesso¬ 
ries  to  the  stage  toilet. 

In  the  make-up  for  a  theatrical  purpose  the  first  points 
of  consideration  are  the  size  of  the  theatre,  the  intensity  of 
the  lights,  and  the  proximity  of  the  audience.  A  make-up 
that  would  be  grand  at  the  Auditorium  or  the  Metropolitan 
Opera  House  would  be  a  fearful  daub  at  one  of  the  smaller 
theatres.  ^Where  a  heavy,  deep  line  is  required  in  a  large 
theatre,  one  much  lighter  and  less  sombre  in  hue  is  sufficient 
to  produce  the  same  effect  in  a  smaller  house  or  in  a  parlor. 
Hardly  any  artist  either  male  or  female,  uses  any  make-up 
nowadays  except  grease  paint.  In  fact,  the  introduction 


of  this  specialty  may  be  considered  as  general,  on  account 
of  its  decided  advantages  over  all  articles  formerly  used 
for  the  same  purposes.  The  two  principal  advantages  pos¬ 
sessed  by  grease  paint  are  its  matchless  blending  qualities, 
and  its  perfect  resistance  to  the  effects  of  perspiration, 
essential  features  not  possessed  by  any  of  the  dry  make-up 
powders  used  heretofore.  Grease  paint  comes  in  what  is 
known  as  flesh  colors  and  lining  colors.  By  flesh  color  is 
meant  the  shade  that  is  always  first  applied,  and  is  the 
foundation  color  which  distinguishes  the  negro  from  the 
white  race,  and  both  from  the  Chinese.  The  lining  colors 
serve  to  draw  the  wrinkles  and  lines  that  indicate  the  age 
and  character  of  the  part  portrayed. 

The  great  point  in  using  grease  paint  artistically  consists 
in  spreading  the  least  possible  quantity  over  as  large  a  sur¬ 
face  of  the  face  and  neck  as  possible.  Cover  the  face  with 
grease  paint  of  the  shade  required  for  the  character.  Hub 
it  well  in  with  the  hands.  Next,  paint  the  eyebrows  and 
lashes  either  black,  brown,  gray,  or  white,  as  required. 
Now,  take  one  finger  and  slightly  charge  it  with  red  from 
the  lining  pencil  and  rouge  the  cheeks.  The  red  for  a 
juvenile  character  is  always  applied  high  on  the  cheeks, 
centering  a  little  below  the  cheek  bones,  worked  gradually 
up  towards  the  eyelids,  and  blended  in  neatly,  so  as  to 
merge  partly  into  the  flesh  color  previously  applied.  In 
making  up  for  old  men  this  color  is  worked  lower  down  on 
the  cheeks.  In  a  juvenile  make-up  a  little  red  below  the  eye 
brows  increases  the  lustre  of  the  eyes,  and  imparts  to  them 
an  attractive  brilliancy.  Much  care  and  skill  are  required 
to  make  up  a  youthful  face  in  imitation  of  old  age;  and  the 
novice  must  be  prepared  to  expend  time  and  patience  in 
the  endeavor,  and  should  not  be  discouraged  if  the  first 
attempts  in  this,  as  in  other  things,  do  not  always  produce 
the  desired  results.  Study  the  face  of  an  aged  person,  and 
note  carefully  the  peculiarity  of  the  wrinkles,  the  shading 
of  the  veins,  and  the  general  tone  of  the  complexion. 
Whatever  else  may  be  neglected  in  make-up  nothing  will 
ever  6how  so  glaringly  as  a  line  representing  a  wrinkle 
drawnrout  of  place,  or  out  of  just  proportion.  It  must 
have  no  abrupt  sides,  beginning  or  ending,  and  must  be  put 
where  nature  herself  intended  to  put  a  wrinkle.  The  actor 
should  study  his  own  face  before  a  mirror;  and  few  faces 
are  so  youthful  that  nature  has  not  begun  to  leave  her 


marks,  showing  where  the  wrinkles  will  eventually  appear. 
Follow  these  lines  with  the  make-up  and  you  cannot  be  far 
from  right.  To  make  wrinkles  every  one  of  the  liners  may 
be  used  except  the  red.  The  lighter  shades  will  answer 
very  well  for  small  theatres  and  parlors;  the  darker  ones 
are  the  o  sly  effective  means  in  the  larger  halls  and  theatres: 
some  make-ups  at  the  latter  places  even  requiring  a  judi¬ 
cious  blending  of  black.  The  principal  wrinkles  on  an  old 
face  are  the  horizontal  parallel  lines  in  the  fotehead,  some 
in  a  straight  line,  and  others  slightly  curved;  the  two  or 
more  short,  deep,  vertical  lines  between  the  eyebrows;  the 
“crows-feet”  running  from  the  outer  corners  of  the  eyes; 
the  deep  wrinkles  running  obliquely  from  the  inner  end  of 
the  eyes;  the  wrinkles  around  the  wings  of  the  nose,  run¬ 
ning  parallel  with  the  last  named;  those  beginning  at  the 
corners  of  the  mouth  and  running  slightly  outwards  and 
downwards;  and  lastly  the  elliptic  line  encompassing  the 
chin.  This  last  named  feature  may  also  be  lined  with  two 
or  three  ellipses,  one  generally  above  and  two  or  three 
others  underneath  it.  To  deepen  a  wrinkle  and  give  it  a 
b  Ad  relief  a  line  of  the  white  pencil  is  run  connectedly 
alongside  the  original  brown,  gray,  blue  or  black. 

To  alter  the  shape  of  the  nose,  or  to  make  a  thin  face 
appear  fleshy  a  composition  known  as  nose  putty  is  used. 
It  should  be  covered  after  being  put  in  place  with  grease 
paint,  and  blended  in  so  that  the  places  where  it  joins  the 
face  cannot  be  detected. 

When  the  make-up  is  complete  always  cover  the  face 
with  a  light  coatir.g  of  flesh  colored  powder,  which  can  be 
obtained  from  any  dealer  in  toilet  supplies.  It  removes 
the  shiny  appearance  of  the  painted  face,  and  makes  it 
seem  smooth  and  natural.  Apply  with  a  chamois  skin  or 
an  ordinary  powder  puff. 

Cocoa  butter  is  an  absolute  necessity  to  every  lady  and 
gentlemen  on  the  stage.  It  is  a  ready,  clean  and  very  handy 
means  of  removing  the  make-up  without  being  obliged  to 
waste  half  an  hour  drenching  the  head  and  face  with  sonp 
suds.  A  few  passes  of  a  piece  of  this  material  over  the 
made  up  surfaces  will  loosen  all  adhesive  mattor  so  th  r- 
oughly  as  to  admit  of  being  wiped  off  at  once. 


Wigs 


The  art  of  wig-making  has  progressed  most  wonder¬ 
fully  in  this  country,  and  wigs  for  any  character  can  be  ob¬ 
tained  for  very  littJe  money.  While  we  do  not  deal  in  this 
class  of  goods,  we  are  always  glad  to  be  of  any  assistance 
to  our  patrons  in  purchasing  for  them. 

Bee  article  under  the  heading  “Theatrical  Supplies”  in 
another  portion  of  this  book. 


Beards. 

Beards  can  be  bought  ready  made  in  almost  every  styifc 
that  they  are  usually  worn;  but  the  best,  and  by  far  the 
cheapest,  way  is  to  make  them  out  of  stage  wool.  This 
wool  comes  prepared  in  strands.  It  is  combed  out  until 
enough  is  pulled  off  to  make  the  style  of  beard  required. 
With  spirit  gum  or  Cooper's  gelatine  paste  it  on  in  sections. 
First,  under  the  chin,  next  around  the  chin,  and  u  der  the 
mouth,  then  the  side  whiskers,  and  lastly  the  moustache. 
The  last  is  pasted  on  in  two  halves  which  meet  under  the 
nose,  but  do  not  altogether  touch.  Particular  care  should 
be  taken  not  to  put  any  grease  paint  or  other  make-up 
where  it  is  expected  to  paste  on  beard  or  eyebrows,  as  they 
will  not  stick  except  to  the  natural  skin. 

There  are  some  strong  characters  which  need  a  virile 
expression,  though  no  sign  of  beard  is  tolerated  on  the 
face,  such  for  instance  as  Quakers,  Monks,  etc.  Moreover, 
if  a  yourg  actor  is  required  to  play  the  part  of  a  man  of 
thirty-live  or  forty  years  of  age,  and  the  instructions  are  to 
make-up  with  only  moustache  and  goatee,  as  in  a  Spanish, 
Italian  or  French  make-up,  the  rest  of  the  face,  where  the 
beard  usually  grows  must  represent  a  shaven  skin.  In 
order  to  produce  this  effect  shade  the  face  with  the  blue 
liner,  blended  with  the  dark  gray  liner.  This  work  must  be 
done  very  carefully,  as  if  too  much  of  the  paint  is  used,  or 
if  it  is  not  properly  blended,  it  will  give  the  appearance 
simply  of  a  dirty  face,  instead  of  the  object  desired.  It  is 
of  course  obvious  that  red,  "blonde  or  any  of  the  lighter 
shades  of  beards  do  not  require  the  above  described  treat¬ 
ment  of  the  apparently  shaven  skin. 


Negro  Characters. 

A  email  quantity  of  burnt  cork  is  moistened  in  the  hand, 
like  soap,  and  rubbed  over  the  face,  ears,  neck  and  hands. 
After  this  the  lips,  the  cheeks  and  the  outside  of  the  nostrils 
are  touched  up  with  the  red  liner,  the  wig  is  put  on  and  the 
work  is  complete.  After  the  make-up  is  finished  the  palms 
bf  the  hands  are  rubbed  clean  of  the  cork,  to  avoid  black- 
ening  anything  which  occasion  requires  to  be  touched. 

Chinese  Characters. 

The  first  thing  is  to  put  on  the  Chinese  scalp  with  queues 
after  which  the  face  is  made  up  with  the  Chinese  flesh  color. 
Then  shade  the  eyelashes  with  the  black  lining  pencil,  end¬ 
ing  at  the  sides  with  an  upward  angle;  i.  e.,  the  upper  eye 
lid  must  be,shaded  very  heavily,  and  the  lower  only  with  a 
thin  line,  which,  at  the  outer  edge,  must  rise  at  an  angle  of 
about  forty-five  degrees,  an.  meet  and  blend  with  the 
shading  of  the  jpoer  *ia.  The  lips,  cheeks  and  nostrils 
should  be  omy  slightly  touched  with  the  red  liner;  in  fact 
the  use  of  red  in  making  up  Chinese  characters  is  altogether 
conventional,  and  only  to  heighten  the  effect  on  the  stage. 
An  application  of  the  Chinese  shade  of  powder  to  tb  e  fane, 
neck  and  arms  completes  the  work. 


The  Teeth  and  Mouth. 

Persons  of  depraved  tastes  and  brutal  habits,  whose 
features  are  supposed  to  represent  their  natures,  can  have 
the  needed  expression  imparted  by  painting  a  strong  line 
down  from  the  corners  of  the  mouth,  while  the  lower  lip 
should  be  given  an  enlarged  look  by  painting  it  with  the 
red  liner.4  To  give  a  semi-comical  twist  to  the  phiz  it  is 
only  necessary  to  paint  one  line  running  down,  the  other  up 
from  the  corners  of  the  mouth.  To  give  the  mouth  the 
appearance  as  if  some  of  the  teeth  had  come  out,  the  teeth 
should  be  wiped  thoroughly  dry,  then  with  a  small  brush 
apply  Email  Noir,  a  black  liquid  which  is  adhesive,  and  wiil 
dry  as  soon  as  applied.  It  is  harmless  to  the  teeth,  and  c «n 
easily  be  rubbed  off  with  a  towel.  Shoemakers’  whx  is  fre¬ 
quently  used  for  the  same  purpose,  and  does  nearly  as  well 


Scenery,  and  How  to  Make  It 


While  at  the  present  time,  almost  all  theatres  and 
halls  where  dramatic  performances  are  given  are  equipped 
with  more  or  less  complete  sets  of  scenery,  it  is  frequently 
the  case  that  the  proper  mounting  of  a  play  calls  for  some¬ 
thing  of  a  special  nature,  and  for  this  reason  a  few  rracti- 
cal  hints  regarding  scene  painting  may  prove  useful. 

From  a  practical  every-day  standpoint,  the  paint  used 
by  scenic  artists  is  common  calcimine  color,  or  to  be  more 
plain,  dry  color  mixed  with  water  with  a  little  glue  added 
to  hold  it  on  the  canvas.  Common  whiting  forms  the 
basis  of  all  scene  paint,  the  proper  color  being  added  to 
produce  the  desired  tint.  The  medium  colors  should  be 
applied  to  the  canvas  first,  and  the  light  and  deep  shades 
worked  in  afterwards.  It  must  be  remembered  that  all 
these  colors  dry  much  lighter  than  they  appear  when  first' 
put  on.  It  is  well,  therefore,  to  let  a  little  of  the  paint 
dry,  so  that  the  artist  can  see  just  what  the  shade  will  be. 
A  little  practice  will  soon  give  one  a  good  idea  of  what 
proportions  to  use  in  mixing  the  colors  to  produce  the 
proper  effects. 

It  requires  years  of  deep  study  and  hard  labor  to 
master  the  scene  painter’s  art,  but  it  is  not  difficult  to 
paint  many  of  the  things  that  are  often  needed  to  com¬ 
plete  the  scenic  equipment  for  a  performance,  that  only 
requires  for  its  construction  a  little  self  confidence  and 
a  slight  knowledge  of  the  rudiments  of  the  art. 

For  instance,  a  stone  wall  may  be  required.  This  is 
3asily  made  by  stretching  a  piece  of  canvas  over  a  suitable 
frame.  Find  a  chromo  or  other  colored  picture  in  which 
there  is  a  wall  similar  in  design  to  the  one  needed.  Note 
the  prevailing  color,  and  having  mixed  a  sufficient  quan¬ 
tity  of  paint,  give  the  canvas  a  good  priming  coat.  Let 
this  become  thoroughly  dry  so  that  you  may  be  sure  that 
you  Lave  the  correct  tint.  It  is  then  quite  easy  to  lay  off 
the  form  of  the  stones  with  a  dark  lining  color;  add  a  few 
touches  of  another  tint  to  give  the  wall  the  appearance  of 
age.  Trace  vines  in  green  running  over  the  wall  at  inter¬ 
vals,  and  give  it  a  border  of  green  at  the  bottom  to  repre¬ 
sent  grass. 


All  this  is  easily  done  if  you  have  a  good  picture  to 
work  from.  A  brick  wall  is  still  easier,  as  the  bricks  are 
laid  off  in  regular  rows.  A  ground  row  to  form  the  fore¬ 
ground  for  a  body  of  water  is  another  simple  piece  of 
work  and  is  a  valuable  addition  to  a  stock  of  scenery.  A 
set  house  may  be  attempted  after  one  has  been  fairly  suc¬ 
cessful  with  a  few  of  the  smaller  set  pieces.  In  this  case 
it  is  necessary,  of  course,  to  build  the  frame  work  with 
practical  door  and  window,  cover  it  with  canvas,  secure  a 
good  model,  and  you’ll  have  little  difficulty. 

If  a  play  is  to  be  produced  which  calls  for  a  special  set 
complete,  such  as  a  blacksmith-shop,  a  cave,  the  interior 
of  a  mine,  or  any  other  scene  out  of  the  ordinary,  get  com¬ 
mon  unbleached  muslin,  have  it  cut  and  sewed  the  size 
desired,  fasten  it  to  the  frame,  find  a  picture  of  the  same 
general  design  of  the  view  required,  mix  your  colors,  and 
if  you  have  any  talent  at  all  as  a  painter  you  will  succeed 
in  producing  a  scene  which  will  answer  every  purpose. 

A  good  assortment  of  scenery  for  an  amateur  club  would 
be  as  follows:  A  parlor,  chamber,  kitchen,  prison,  wood, 
garden,  street  and  horizon.  Other  scenes,  of  course,  may 
be  necessary  for  occasional  use,  but  with  these  a  company 
can  easily  find  suitable  plays  to  fit  the  stock  on  hand. 


SECTIONS  OF 


THE  COPYRIGHT  LAW 

OP  TME 

UNITED  STATES 

PERTAINING  TO  DRAMATIC  LITERATURE 

Being  the  Act  of  March  4,  1909 
(As  Amended  by  the  Act  of  August  24,  1912  ) 


Rights  Covered  by  Copyright 

Section  1.  Be  It  enacted  by  the  Senate  and  Hou.sc  i  f 
Representatives  of  the  United  States  of  America  in 
Congress  assembled, 

That  any  person  entitled  thereto,  upon  complying  with 
the  provisions  of  this  Act,  shall  have  the  exclusive  right : 

(a)  To  print,  reprint,  publish,  copy,  and  vend  the 

copyrighted  work; 

(b)  To  translate  the  copyrighted  work  into  other  lan¬ 
guages  or  dialects,  or  make  any  other  ver&ion  thereof,  if  it 
be  a  literary  work;  to  dramatize  it  if  it  be  a  non-dramatic 
work;  to  convert  it  into  a  novel  or  other  non-dramatic 
work  if  it  be  a  drama;  to  arrange  or  adapt  it  if  be  a 
musical  work;  to  complete,  execute,  and  finish  it  if  it  be 
a  model  or  design  for  a  work  of  art; 

(c)  To  deliver  or  authorize  the  delivery  of  the  copy¬ 
righted  work  in  public  for  profit  if  it  be  a  lecture,  sermon, 
address,  or  similar  production; 

Note.  Any  citizen  or  resident  of  the  United  States  is 
entitled  to  protection,  so  also  is  a  citizen  of  any  foreign 
country  that  gives  American  citizens  the  right  to  copy¬ 
right  their  works  under  the  same  conditions  it  does  it's 
own  subjects. 


(d)  To  perform  or  represent  the  copyrighted  work 
publicly  if  it  be  a  drama  or,  if  it  be  a  dramatic  work  and 
not  reproduced  in  copies  for  sale,  to  vend  any  manuscript 
or  any  record  whatsoever  thereof;  to  make  or  to  procure 
the  making  of  any  transcription  or  record  thereof  by  or 
4  from  which,  in  whole  or  in  part,  it  may  in  any  manner  or 
by  any  method  be  exhibited,  performed,  represented,  pro¬ 
duced  (r  reproduced;  and  to  exhibit,  perform,  represent, 
produce  or  reproduce  it  in  any  manner  or  by  any  method 
whatsoever. 

Duration  of  Copyright 

Section  23.  That  the  copyright  secured  by  this  Ac  t 
shall  endure  for  twenty. eight  years,  *  *  *  the 

proprietor  of  such  copyright  shall  be  entitled  to  a  renew¬ 
al  and  extension  of  the  copyright  in  such  work  for  the 
further  term  of  twenty-eight  years  when  application  for 
such  renewal  and  extension  shall  have  been  made  to  the 
copyright  office  and  duly  registered  therein  within  one 
year  prior  to  the  expiration  of  the  original  term  of 
copyright. 

Protection  of  Copyright  and  Penalties 
For  Infringement, 

Section  25.  That  if  any  person  shall  infringe  the  copy¬ 
right  in  any  work  protected  under  the  copyright  laws  of 
the  United  States  such  person  shall  be  liable : 

(a)  To  an  injunction  restraining  such  infringement; 

(b)  To  pay  to  the  copyright  proprietor  such  damages 
as  the  copyright  proprietor  may  have  suffered  due  to  the 

*  infringement,  as  well  as  all  the  profits  which  the  infringer 
shall  have  made  from  such  infringement. 

Fourth.  In  the  case  of  a  dramatic  or  dramatico- 
musical  or  a  choral  or  orchestral  composition,  one  hun 
rdred  dollars  for  the  first  and  fifty  dollars  for  every  sub- 
sequent  infringing  performance;  in  the  case  of  other 
musical  compositions,  ten  dollars  for  every  infringing 
performance. 


(c)  To  deliver  up  on  oatli,  to  be  impounded  during 
the  pendency  of  the  action,  upon  such  terms  and  condi¬ 
tions  as  the  court  may  prescribe,  all  articles  alleged  to  in¬ 
fringe  a  copyright; 

(d)  To  deliver  up  on  oath  for  destruction  all  the  in¬ 
fringing  copies  or  devices,  as  well  as  all  plates,  molds, 
matrices,  or  other  means  for  making  such  infringing  copies 
as  the  court  may  order, 

Sec.  27.  That  the  proceedings  for  an  injunction,  dam¬ 
ages,  and  profits,  and  those  for  the  seizure  of  infringing 
copies,  plates,  molds,  matrices,  and  so  forth,  aforemen- 
tioDed,  may  be  united  in  one  action. 

Sec.  28,  That  any  person  who  willfully  and  for  profit 
shall  infringe  any  copyright  secured  by  this  Act,  or  who 
shall  knowingly  and  willfully  aid  or  abet  such  infringe¬ 
ment,  shall  be  deemed  guilty  of  a  misdemeanor,  and  upon 
conviction  thereof  shall  be  punished  by  imprisonment  for 
not  exceeding  one  year  or  by  a  fine  of  not  less  than  one 
hundred  dollars  nor  more  than  one  thousand  dollars,  or 
both,  in  the  discretion  of  the  court. 

Sec.  34.  That  all  actions,  suits,  or  proceedings  arising 
under  the  copyright  laws  of  the  United  States  shall  be 
originally  cognizable  by  the  circuit  courts  of  the  United 
States,  the  district  court  of  any  Territory,  the  supreme 
court  of  the  District  of  Columbia,  the  district  courts  of 
Alaska,  Hawaii,  and  Porto  Rico,  and  the  courts  of  first  in¬ 
stance  of  the  Philippine  Islands. 

Sec.  35.  That  civil  actions,  suits  or  proceedings 
arising  under  this  Act  may  be  instituted  in  the  district  of 
which  the  defendant  or  his  agent  is  an  inhabitant,  or  in 
which  he  may  be  found. 

Sec,  40.  That  in  all  actions,  suits  or  proceedings  un¬ 
der  this  Act,  except  when  brought  by  or  against  the  United 
States  or  any  officer  thereof,  full  costs  shall  be  allowed, 
and  the  court  may  award  to  the  prevailing  party  a  reason¬ 
able  attorney's  fee  as  part  of  the  costs, 


Sec.  62,  That  in  the  interpretation  and  construction 
of  this  Act,  “the  date  of  publication”  shall  in  the  case  of 
a  work  of  which  copies  are  reproduced  for  sale  or  distrib¬ 
ution  bo  held  to  be  the  earliest  date  when  copies  of  the 
first  anthorized  edition  were  placed  on  sale,  sold,  or  pub- 
*  licly  distributed  by  the  proprietor  of  the  copyright  or  un¬ 
der  his  authority,  and  the  word  “author.’  shall  include 
an  employer  in  the  case  of  books  made  for  hire, 

Sec.  63.  That  all  laws  or  parts  of  laws  in  conflict 
with  the  provisions  of  this  Act  are  hereby  repealed,  but 
nothing  in  this  Act  shall  affect  causes  of  action  for  in¬ 
fringement  of  copyright  heretofore  committed  now  pend¬ 
ing  in  courts  of  the  United  Strt.es,  or  which  may  hereafter 
be  instituted;  but  such  causes  may  be  prosecuted  to  a 
conclusion  in  the  manner  heretofore  provided  by  law, 

Sec.  64.  That  this. Act  shall  go  into  effect  on  the 
first  day  of  July,  nineteen  hundred  and  nine. 

Approved,  March  4,  1909. 


What  to  Play. 

The  selection  of  plays  is  usually  left  to  the  businese  and 
stage  managers,  and  as  on  this  depends  to  a  great  extent 
the  success  or  failure  of  the  venture,  a  few  words  on  the  sub 
ject  may  not  be  amiss.  The  master  dramatist  Shakespeare 
said  many  years  ago:  “The  play’s  the  thing,”  and  it  is  a 
fact  that  a  good  play  badly  acted  will  please  where  an  in 
ferior  one  presented  by  the  finest  company  in  the  land  will 
meet  with  failure. 

In  selecting  a  play  it  is  well  to  choose  one  in  which  the 
interest  does  not  center  around  any  single  character  to  the 
detriment  of  the  remainder  of  the  cast.  Let  every  member 
of  the  company  have  an  opportunity  for  good  work.  There 
will  be  less  jealousy,  the  company  will  work  in  greater  har¬ 
mony,  and  the  entertainment  is  much  more  likely  to  please. 

Select  a  play  of  modern  life  that  tells  a  story  of  con¬ 
temporaneous  interest.  The  public  will  sometimes  go  to 
the  theatre  to  see  a  drama  two  or  three  hundred  years  old, 
but  only  when  some  well-known  star  produces  it.  They  go 
to  see  the  actor  Irving,  not  the  play  “Hamlet,”  or  the  act¬ 
ress  Julia  Marlowe-Taber,  not  the  play  “The  Honeymoon.” 
People  want  to  see  characters  in  stage  land  who  hav6 
thoughts,  ambitions,  joys  and  sorrows  like  their  own.  “The 
Merchant  of  Venice”  was  written  for  people  who  lived  cen¬ 
turies  ago.  “The  Henrietta”  was  written  for  people  who 
live  to-day.  Therefore  the  latter  play  fills  the  theatres 
nightly,  while  the  former  frequently  plays  to  vacant  chairs. 
Shrewd  managers  in  the  business  professionally  realize  the 
truth  of  these  statements,  and  are  c  nstantly  on  the  watch 
for  something  new.  Hundreds  of  plays  are  produced  in  the 
United  States  every  year,  and  while  the  majority  of  them 
fail,  a  few  score  great  successes  and  make  fame  and  fortune 
for  their  authors.  The  owner  of  a  successful  play  jealously 
guards  his  property,  and  by  every  means  in  his  power  en¬ 
deavors  to  prevent  others  from  obtaining  a  copy  of  it.'  For 
this  reason  successful  plays  are  never  printed  until  long 
after  they  have  ceased  to  be  a  source  of  profit  to  their  pro- 


ducers.  The  amateur,  therefore,  has  found  himself  com- 
pelied  to  select  his  plays  from  the  old  and  worn  out  book 
pieces,  and  if  professional  actors  find  it  impossible  to 
please  their  patrons  with  this  material,  it  is  evident  that 
amateurs  have  even  less  hope  of  dung  so.  And  here  is 

4  where  the  Chicago  Manuscript  Company  is  prepared  to 
be  of  assistance  to  them.  This  company  has  for  the  past 
fifteen  years  been  in  the  business  of  dealing  in  manu¬ 
script  plays,  supplying  to  both  professional  and  amateur 
companies  the  latest  and  most  popular  dramatic  successes. 

*  In  our  catalogue  can  be  found  almost  every  play  that  has 
met  with  public  approval  in  this  country  and  in  England  in 
late  years,  and  we  are  continually  adding  to  the  list.  No 
matter  what  style  of  play  you  may  desire,  whether  it  be 
comedy,  tragedy,  border  drama,  society,  drama  or  fa™©,  we 
are  prepared  to  furnish  it  at  a  reasonable  price. 


The  Art  of  Making  Up 

FULLY  EXPLAINED 
IN  OUR  BOOK 

Success  on  the  Stage 

A  Handy  and  Useful  Book 
No  Amateur  should  be  without. 


PRICE  FIFTEEN  CENTS 


READ  CAREFULLY 

ALL  OF  THE  PLAYS  Listed  in  this  Catalogue 
ABE  COPYRIGHTED. 

Under  the  Copyright  Law  the  rights  of  public  produc¬ 
tion  are  not  acquired  by  the  rental  or  purchase  of  a  copy  of 
the  play,  but  must  be  separately  arranged  for. 

In  supplying  plays  we  give  acting  rights,  under  indi¬ 
vidual  agreements,  and  the  manuscript  and  parts  supplied 
are  at  all  times  the  property  of  The  Chicago  Manuscript 
Company,  and  must  be  returned  at  the  expiration  of  the 
period  for  which  they  are  leased. 

The  copying,  production  or  sale  without  our  consent, 
are  offenses  punishable  by  fine  and  imprisonment,  and  it 
is  not  necessary  that  we  should  warn  anyone  before  begin¬ 
ning  action.  All  that  is  necessary  is  to  secure  the  evidence 
and  place  it  in  the  hands  of  the  proper  authorities  who 
will  set  the  legal  machinery  of  the  Government  in  motion. 

We  Make  Special  Prices  to  Stock  Companies  playing 
cities  one  week  or  longer.  To  One  Night  Stand  Companies 
playing  the  larger  towns.  To  Repertoire  Companies  play¬ 
ing  the  smaller  cities,  (from  30,000  to  40,000  inhabitants) 
and  to  One  Night  Stand  Companies  playing  the  small 
towns  and  villages. 

In  leasing  plays  we  supply  manuscript  and  parts,  and 
protect  our  patrons  in  their  right  to  use  plays  secured 
from  us  and  also  will  prevent  anyone  pirating  our  plays, 
when  informed  of  such  piracies- 

If  plays  are  desired  for  reading  with  a  view  to  leasing, 
we  will  send  3  manuscripts  for  inspection,  on  receipt  of 
One  Dollar.  In  sending  we  ship  C.  O,  D.  $12.50  each, 
allowing  the  fullest  examination,  and  if  goods  are  not  sat¬ 
isfactory  they  may  be  returned  and  the  dollar  sent  will 
pay  express  charges  for  return  of  goods  and  for  our  trouble 
in  sending. 

We  suggest  to  patrons  that  in  asking  for  terms  they 
give  full  particulars  as  to  use  to  be  made  of  plays. 

Our  rentals  vary,  but  are  at  all  times  reasonable.  We 
claim  to  supply  the  best  plays  at  most  reasonable  terms. 

In  Making  Remittances  send  money  by  registered  let¬ 
ter,  postal  order,  express  or  bank  draft.  No  personal 
checks  accepted  for  an  amount  in  excess  of  One  Dollar 


SPECIAL  LIST 

SELECTED  FROM 

Our  Regular  Catalogue  of 
PROFESSIONAL  PLAYS 

ALL  OF  WHICH  ARE 

Easily  Staged,  tell  Strong  Stories  with  an  abun¬ 
dance  of  comedy  and  are  free  from  suggestive 
lines  or  situations,  making  them  desirable  for 
production  by  permanent  stocks  and  the  bet¬ 
ter  class  of  repertoire  companies. 


In  Supplying  Plays  to  Amateurs,  we  give  them  the 
use  of  manuscript  and  sec  of  parts  for  Six  Weeks, 
for  rehearsals  and  one  public  performance,  after 
which  goods  must  be  returned.  Our  rental  price  is 
$7.50,  but  in  all  cases  we  require  an  additional  $5.00 
to  guarantee  the  careful  handling  of  goods  and  their 
prompt  return,  when  deposit  will  be  refunded. 

The  Call  of  The  Woods.  This  is  a  play  of  the  Canadian 
woods  and  tells  a  gripping  heart  interest  story  of  a 
mother  who  is  partial  to  one  of  her  two  sons-  The 
favorite  commits  a  theft  and  places  the  blame  on 
his  brother,  who  is  then  driven  from  home  by  the 
mother.  The  incidents  following  this  act  of  injus¬ 
tice  make  up  a  play  that  is  full  of  the  rich  red  blood 
and  drams  in  which  the  interest  is  sustained  until 
the  very  last.  Dave  is  a  great  leading  part;  Willis, 
a  strong  genteel  heavy;  the  Doctor  and  Eben,  com¬ 
edy  parts  that  are  out  of  the  ordinary,  .Flapjack, 
the  old  trapper,  is  a  finely  drawn  character;  Mrs. 
Hughes,  the  mother,  good  character  part;  Dorris, 
the  college  girl,  a  juvenile,  and  Hilda,  the  child  of 
the  wilderness,  a  charming  ihgenue.  Sets  are  simple, 
cast,  five  and  three,  and  this  with  a  play  of  pathos, 
clean  cut  comedy,  local  color  and  a  touch  of  sensa¬ 
tion,  makes  a  truly  great  offering  for  stock  or  rep¬ 
ertoire.  (2098) 


Won  By  Waiting.  A  semi-rural  comedy  drama,  two  acts 
of  which  take  place  on  a  Vermont  farm,  two  in  New 
York.  This  play  is  new  and  thoroughly  up  to  date; 
full  of  heart  interest  and  abounds  in  wholesome, 
clean  cut  comedy.  The  dramatic  situations  are  tell¬ 
ing,  the  climaxes  full  of  force  and  meaning.  It  affords 
excellent  opportunities  for  the  most  exacting  actors 
and  holds  the  attention  of  the  audience  from  start  to 
finish.  The  characters  are  admirably  drawn.  Andy 
Marcoe,  the  young  country  boy  is  an  excellent  heroic 
lead.  Bud  Fisher,  a  rube  comedy  similar  to  Hi  Holler. 
Hiram  Marcoe,  the  farmer,  and  Col.  Douglas,  the 
New  York  Banker  are  great  character  parts.  There 
is  also  a  good  genteel  heavy.  The  female  parts 
are,  a  sweet,  motherly  old  woman,  emotional  lead 
and  a  refreshing  type  of  ingenue.  The  sets  are  easily 
arranged  as  nothing  special  is  required,  yet  they  can 
be  elaborated  and  made  picturesque.  An  excellent 
opening  or  feature  bill.  (2031) 


Ishmael.  A  new,  powerful  and  clever  dramatization  of 
Mrs.  Southworth’s  celebrated  novel.  The  strange 
dual  nature  of  the  heroine,  Claudia,  is  given  rather 
more  prominence  in  the  play  than  in  the  book,  and 
drawn  with  dramatic  adroitness  and  considerable 
audacity,  forming  a  rare  example  of  the  new  drama 
of  metaphysics,  made  popular  by  “  Dr.  Jekyl  and 
Mr.  Hyde,”  “Trilby,”  and  lately  by  Belasco  in  his 
production  of  “The  Case  of  Becky.”  Ciaudia  is 
made  a  winsome  and  lovely  girl,  whose  character 
shifts  inexplicably  from  the  extreme  of  sweetness  to 
one  of  hard  and  almost  impish  perversity,  which 
yields  eventually,  however,  to  the  power  of  love.  The 
part  offers  splendid  opportunities  to  a  clever  actress. 
Of  the  other  parts,  Ishmaei  is  a  good  juvenile  lead, 
Ben,  light  comedy,  Bee,  a  charming  ingenue,  Lord 
Vincent  and  the  adventuress,  Faustina,  excellent 
genteel  heavies,  while  two  added  characters,  Walsh 
and  Reilly,  typical  politicians,  are  capital  character 
comedy  parts.  Cast,  five  men  and  three  women. 
Scenery,  1  exterior,  2  interiors,  easily  arranged.  (2037) 


Thorns  and  Orange  Blossoms,  A  four  act  comedy  drama. 
A  faithful  dramatization  from  Bertha  M .  Clay’s  novel 
of  the  same  name.  The  theme  is  a  string  on  which 
any  dramatist  may  play  as  many  tunes  as  he  pleases 
and  never  weary  an  audience.  There  is  a  vital  com¬ 
pelling  force  behind  it— the  force  of  stern  conviction. 
While  not  less  a  drama  of  heart,  it  is  a  faithful  tran¬ 
script  of  actual  life.  There  is  action  in  every  line 
of  the  story.  A  vein  of  light  comedy  is  the  key  note  of 
the  humor,  played  by  alight  comedian  and  ingenue. 
These  parts  are  “Corkers”.  This  is  a  great  bill,  splen¬ 
did  for  an  opener.  It  has  a  strong  after  draft.  A  splen 
did  line  of  characters,  each  one  a  feature.  Elegant 
dressing,  There  is  one  special  scene,  snow  effect, 
church  illuminated.  A  big  3rd  act.  Cast  six  males 
(double  5)  and  three  females.  The  characters  are— 
Males,  juvenile  lead,  genteel  heavy,  light  comedy, 
(an  American  reporter)  high-class  comedy  old  man, 
(a  Bishop,  Church  of  England),  two  character  bits, 
female  emotional  lead,  ingenue,  grande  dame.  (1997 

Dora  Thorne.  An  entirely  new  dramatization  of  Bertha 
M.  Clay’s  famous  novel.  It  retains  all  the  intensely 
dramatic  situations  of  the  book,  and  is  the  best  ver¬ 
sion  on  the  market.  Dora  is  an  emotional  lead  that 
affords  opportunities  for  rising  from  childish  sim¬ 
plicity  and  innocence  to  tragic  heights  of  outraged 
womanhood.  No  less  important  is  Lady  Charteris, 
who  bears  in  silence  the  insults  and  accusations  ar¬ 
ising  from  a  misinterpretation  of  her  friendship  for 
Dora’s  husband.  She  is  not  a  heavy,  as  in  ether  ver¬ 
sions.  Lillian  is  an  ingenue  of  the  highest  type, 
one  moment  a  revelation  of  philosophical  maturity, 
the  next  a  rippling  stream  of  wit  and  humor.  Her 
co-worker,  Andrew,  is  an  American  correspondent, 
and  a  gem  of  light  comedy.  Stephen  is  a  sweet  old 
man;  Ronald  a  manly  lead;  Ralph  a  natural  heavy, 
and  Lord  Earle  a  great  type  of  English  aristocrat. 
Cast,  five  and  three,  with  sets  simple  or  elaborate,  as 
desired;  dress  that  is  modern  and  rich;  story  that  is 
human;  characterizations  true  to  life.  There  is  no 
better  opening  or  feature  bill  than  “Dora  Thorne,” 

(2187) 


The  Cowboy  Sheriff.  A  Western  comedy  drama  that  is 
replete  with  dramatic  situations.  It  is  not  a  “shoot- 
’em-up”  type  of  Western  play,  but  rather  one  with  an 
intense  and  gripping  heart  story,  that  is  carried  over 
by  characters  so  well  drawn  and  true  to  life,  that  one 
seems  to  fairly  live  in  Western  atmosphere.  The  play 
is  a  worthy  rival  of  “Arizona,”  “The  Virginian,”  and 
others  of  that  class.  The  situations  are  brought 
about  in  a  natural  manner  and  accompanied  with 
quick,  decided  action  that  keeps  the  play  moving 
continually  to  a  happy  ending.  A  strong  feature  of 
this  play  is  the  abundance  of  bristling,  clean  cut  and 
breezy  Western  comedy  that  eliminates  all  possibil¬ 
ity  of  there  being  any  dull  and  dead  moments.  Cast 
is  six  and  three,  but  a  consistent  double  makes  it  five 
and  three.  A  romantic  male  lead,  emotional  woman, 
winsome  ingenue,  and  strong  character  parts  makes 
it  a  play  that  will  add  strength  to  any  repertoire. 

(.2076) 


Her  Legal  Prisoner  An  unusuany  strong  play  with 
a  touch  of  melo-dramatic  life,  that  carries  a  heart- 
interest  story  from  the  moment  the  curtain  rises 
until  it  falls  on  the  final  act.  It  contains  no  stereo¬ 
typed  jail  breaking  scenes,  nor  impossible  situations, 
but  is  a  plot  cleverly  written  aud  unravelled  by  a 
series  of  dramatic  situations  fairly  teeming  with  life 
and  sustaining  interest.  Eugene  Moore,  a  North¬ 
erner,  is  an  excellent  juvenile  leading  part,  Colonel 
Randolph,  a  peppery  old  Southerner,  heavy,  and 
Sandy  Mackay,  the  tramp  who  holds  the  key  to  the 
entire  situation,  and  who  finally  by  direct  appeal  to 
his  manhood,  sets  matters  right,  is  a  star  part.  Hazdi 
Randolph,  an  emotional  lead,  Mrs.  Jones,  a  magazine 
writer,  excellent  comedy  part,  and  Kitty  Randolph, 
an  ingenue.  The  cast  is  six  and  three,  which  by  a 
double  in  first  act,  is  made  five  and  three.  Sets  are 
simple  but  can  be  elaborated.  The  play  can  be  rec¬ 
ommended  as  a  strong  opening  or  feature  bill-  (2091) 


The  Lady  Detective.  A  new  and  sparkling  comedy  with 
a  story  of  sustained  interest  and  abounding  in  point 
and  mirth  provoking  situations.  This  play  is  the 
latest  thing  in  the  mistaken  identity  idea,  but  does 
not  depend  on  strained  conditions,  fancied  resem¬ 
blances,  or  other  fossilized  expedients  worn  thread¬ 
bare  by  comedy  constructors.  It’s  progress  is  marked 
by  naturalness,  it’s  scheme  is  thoroughly  consecu¬ 
tive,  although  rich  in  humorous  surprises.  The  cast 
includes  but  four  males  and  two  females  -every  role 
“fat’*  to  the  oleaginous  limit.  Moses  Midas,  the  mil¬ 
lionaire,  masquerading  as  Mr.  Bull,  might  easily  be 
styled  a  star  part.  Alonzo  Stagg,  the  college  athlete, 
house  detective  of  the  Ocean  Hotel,  brimful  of  op¬ 
portunities  for  a  dashing  leading  man.  Jack,  excel¬ 
lent  juvenile;  Percy  Vernon,  the  “old  beau;”  Anna 
Money,  the  heiress,  and  last  but  not  least —  Trixy 
Conn,  Jblie  lady  detective,  unlimited  in  possibilities. 
There  are  three  acts,  played  in  two  sets;  nothing 
special,  “The  Lady  Detective”  will  be  found  most 
desirable  among  feature  bills  required  by  short  cist 
companies.  (2133) 

“The  Old  Folks  At  Home,”  A  rural  comedy  in  four  acts. 
This  play  is  close  to  Nature,  telling  a  story  of  farm 
and  village  life.  The  author  has  constructed  a  dra¬ 
ma  that  appeals  to  those  who  enjoy  entertainment* 
that  breathes  the  “Simple  Life.”  The  characters 
are  human  and  faithful  representation  of  men  and 
women  who  are  to  be  found  in  rural  communities. 
Honest  to  the  core  and  refreshing  as  new  mown 
hay.  The  action  is  dramatic  and  leads  to  situa¬ 
tions  that  reach  strong  climaxes  and  natural  heart 
throbs.  An  excellent  play  for  repertoire  companies 
and  ambitious  amateurs.  It  is  pure  in  diction  and 
“clean  cut”  in  incidents.  No  special  settings. 
Every  day  characters.  Cast,  six  males,  (double  5) 
and  three  females.  The  characters  are:  Males, 
juvenile  lead,  genteel  heavy,  strong  old  man,  light 
comedy,  country  boy  and  juvenile  “bit.”  Females, 
juvenile  lead,  soubrette,  character  old  woman.  (1962) 


At  Magdalena  Bay.  An  up-to-date  comedy  melo-drama 
of  surpassing  interest,  having  its  scene  in  Lower 
California.  It  is  rich  in  romance  and  abounds  in 
atmosphere.  It  is  full  of  animation  and  power  and 
not  only  holds  an  audience  because  of  its  vivid  pic¬ 
tures  of  the  stirring  events  of  contemporaneous 
history,  but  also  because  it  is  a  play  of  primitive 
passions  -  a  drama  for  all  time.  There  is  a  wealth 
of  delicious  comedy  to  relieve  the  intense  action, 
and  the  parts  in  cast  are  admirably  contrasted  and 
give  everyone  in  the  ordinary  company  a  chance. 
There  is  a  dainty  ingenue  lead  of  the  “Rose  of  the 
Rancho”  type,  a  dramatic  heavy  and  a  most  laugh¬ 
able  character  woman.  The  male  roles  are  an  excel¬ 
lent  lead  of  the  heroic  type,  a  splendid  light  comedy, 
genteel  and  character  heavies  and  good  juvenile. 
Cast  includes  five  males,  three  females.  Scenery 
simple,  can  be  elaborated.  Producing  managers  who 
are  looking  for  a  play  which  embodies  in  dramatic 
form  the  intrigue  and  violence  in  the  present  Mex¬ 
ican  situation,  had  better  take  a  look  at  “Magdalena 
Bay.”  (2000) 

Our  Candidate.  Comedy  drama,  sometimes  called 
“Grazebrook  Farm.”  This  is  a  charming  play,  quiet 
in  tone,  intense  in  interest,  with  a  comedy  breeze 
that  is  refreshing  in  its  quaint  humor.  The  ingenue 
lead  is  a  fascinating  character  and  holds  the  interest 
through  the  many  phases  of  her  career.  The  settings 
are  easily  arranged.  Costumes  modern  and  opportu¬ 
nities  for  display.  An  excellent  bill  for  repertoire. 
Cast,  five  males  and  three  females,  Male  characters 
are,  juvenile  lead,  old  man  lead,  juvenile  dude,  ec¬ 
centric  comedy;  females,  ingenue  lead,  soubrette  and 
heavy. 


The  Peacemaker*  This  is  the  latest  and  best  of  ail  plays, 
having  as  a  back  ground  the  struggles  of  labor.  It> 
is  a  domestic  drama  told  so  simply  that  a  child 
could  easily  follow  its  t!i reads  of  interest,  but  it  is 
full  of  variety  and  charm.  It  possesses  a  strong 
and  reasonable  love  story,  a  most  intense  plot  and 
an  abundance  of  comedy.  It  is  instinct  with  human, 
nature,  and  its  pathos  is  sustained.  If  it  be  true 
that  good  parts  make  good  actors,  then  all  the  mem¬ 
bers  of  any  average  company  representing  “The 
Peacemaker”  will  certainly  show  to  great  advantage. 
The  climaxes  and  curtains  are  immense.  There  is  a 
strong  male  lead  abounding  in  distinction  and  man¬ 
liness.  A  feminine  lead,  ranging  from  the  daintiest 
ingenuousness  to  transitions  of  emotional  force.  An 
excellent  second  man  can  be  played  by  heavy  or 
juvenile;  two  strong  characters,  heavy  and  comedy, 
and  good  light  comedian.  The  two  remaining  com¬ 
edy  parts  are  an  eccentric  comedy  stenographer  and 
a  lovable  character.  The  cast  includes  live  males, 
three  females,  (no  doubles.)  “The  Peacemaker” 
makes  good  every  time  and  everywhere-  (2064) 


Her  Second  Husband.  A  four  act  comeiy  drama  with  a 
cast  of  four  and  three.  The  play  has  several  features 
that  are  novel  and  strongly  dramatic.  It  is  of  the 
emotional  class,  yet  free  from  mawkish  sentiment. 
The  comedy  is  thoroughly  modern  and  carries  the 
weight  of  the  action  and  situations.  The  story  in 
brief:  Her  first  husband,  a  convict,  whom  the  wife 
believes  to  be  dead,  appears  on  the  scene.  The  com¬ 
plications,  comedy,  heart  and  dramatic  situations 
are  woven  in  a  natural  composite  picture.  There  are 
four  light  comedy  roles,  two  males  and  two  females 
that  are  charming.  The  leads  are  excellent.  Elegant 
dressing,  easy  arts.  The  four  male  characters  are  : 
Juvenile  lead,  juvenile,  light  comedy  and  genteel 
heavy.  The  female  csaracters  are,  juvenile  lead,  in¬ 
genue  and  comedian,  (1972) 


Clouds  and  Sunshine  A  rural  comedy  drama  in  four  acts 
that  has  a  gripping  heart  interest.  This  is  a  mod¬ 
ern  play  built  on  old  lines,  with  several  novel  com¬ 
edy  features,  A  great  opening  bill.  A  sketch  of  the 
story :  The  persecution  of  the  “school  marm”  by  the 
village  gossips.  She  is  protected  by  the  minister. 
The  theme  and  type  of  characters  are  the  old  famil¬ 
iar  ones  that  never  die  in  popular  favor  as  they 
strongly  appeal  to  a  lady  audience.  The  play  has 
all  the  elements  desired.  A  pure  dramatic  story, 
abundance  of  “rube”  comedy,  splendid  curtains,  easy 
sets,  a  cast  of  five  and  three.  The  characters  are :  the 
young  minister,  the  city  man,  the  old  mischief  maker, 
the  country  boy,  the  ex-convict,  the  school  teacher, 
the  gossipy  old  woman,  the  lively  country  girl.  (1990) 


A  Struggle  For  Life.  A  play  with  an  exceptionally  strong 
plot  and  story  dealing  with  the  trials  of  Frank 
Holmes,  a  youug  broker’s  clerk,  who  is  in  love  with 
Irene  Laraont,  his  employer’s  daughter.  Walter 
Foster,  the  heavy,  through  jealousy  of  Frank,  com¬ 
mits  a  forgery  and  murder  and  fastens  the  crimo 
upon  him.  Irene,  to  avenge  her  father’s  death  offers 
large  rewards  for  Frank,  but  is  later  made  to  see  he 
i3  not  guilty  and  then  assists  him  to  escape  the  offi¬ 
cers  and  prove  his  innocence.  This  being  brought 
about  and  the  guilt  of  Walter  established  by  Dick 
Whitney,  who  poses  as  a  German  baron,  and  Judge 
Digby,  a  character  comedy.  Every  character  is  clear 
cut  and  distinct,  and  there  is  an  abundance  of  com¬ 
edy  furnished  by  Dick,  the  Judge,  Mrs.  Durant,  a 
title  hunting  mother  and  her  daughter  Dorothy. 
Play  with  five  and  three  (one  double)  and  is  full  of 
active,  bright  dialogue  and  quick,  decisive  climaxes. 
No  special  scenery  required.  (1995) 


Under  Arizona’s  Skies.  A  breezy  western  comedy  drama 
that  has  its  locale  on  the  borders  of  Arizona  and  Old 
Mexico.  There  is  a  love  theme  that  is  human,  with 
dramatic  situations  that  are  intensely  striking,  ro¬ 
mantic  and  picturesque.  The  vital  characters  are  in 
a  whirl  of  moving  pictures  that  are  consistent,  natu¬ 
ral  and  picturesque,  telling  a  story  that  thrills  and 
interests.  The  character  comedy  creations,  “Freckles” 
and  “  The  Parson,”  are  a  scream.  The  play  has  the 
types  of  characters  that  appeal  to  the  average  Amer¬ 
ican.  Easy  sets  Cast,  six  males,  (double  five)  and 
three  females.  Characters  are,  strong  male  lead, 
genteel  Mexican  heavy,  romantic  Indian,  two  comedy 
cow  punchers,  Western  sheriff.  Females,  ingenue 
lead,  heavy  lead,  character  woman.  (1866) 

The  Man  ol  Her  Choice,  John  Brand  by  name,  is  a  charac¬ 
ter  of  frankness  personified,  set  among  a  galaxy  of 
engaging  and  interesting  personalities,  around  which 
is  woven  a  web  of  sustained  and  contemporaneous 
interest.  The  play  itself  is  romantic,  yet  real;  idyllic, 
but  thoroughly  practical.  Its  action  moves  with  cel¬ 
erity,  and  incident  follows  incident  easily  and  natu¬ 
rally.  “The  Man  of  Her  Choice”  is  a  play  which  is 
a  happy  admixture  of  delicious  comedy  and  heart 
story.  It  is  sympathetic,  atmospheric  and  full  of 
human  vital  qualities.  John  Brand,  the  leading  male 
role,  the  young  civil  engineer,  and  Madeline,  who 
has  “the  choice”  are  both  worthy  the  efforts  of  star 
players.  Mrs.  Fogarty,  who  keeps  the  hotel— an 
excruciatingly  funny  character;  Evelina,  an  exceh 
lent  ingenue;  Herbert,  the  egotistical  musician,  a 
novel  character  juvenile;  Nekon,  great  heroic  juve¬ 
nile;  Con.  Creet  and  Mole,  character  comedians 
of  unbounded  opportunities.  Scenery  simple,  can 
be  elaborated.  Cast,  5  males,  3  females.  “The 
Man  of  Her  Choice”  is  well  worth  exploiting. 


r 


The  Chauffeur.  A  comedy  of  the  highest  class,  and  while 
possessing  a  wealth  of  incidents  and  mirth  comped- 
ing  situations  it  has  a  plot  of  interest  and  suspense. 
It  is  flawlessly  constructed  and  every  character  is  a 
gem.  Its  leading  role  is  that  of  a  yoang  German 
nobleman  who  plunges  into  a  circle  of  the  newly  rich 
ao  Newport  in  order  to  win  the  girl  of  his  heart. 
There  is  woven  into  the  web  of  his  many  laughable 
adventures,  a  thread  of  sentiment  which  serves  to  in¬ 
vest  with  a  dramatic  coloring  what  otherwise  would 
be  styled  pure  comedy.  The  parts,  which  number 
eight,  five  males  and  three  females,  can  truly  be 
called  “  actor  proof.”  Characters,  a  young  German 
nobleman.  Lieut,  of  the  U.S.  Navy,  a  parvenue  who 
used  to  make  soap,  an  English  lord,  a  gilded  youth, 
a  true  American  girl,  a  “fluffy  ruffles”  girl,  an  eld<  r- 
ly  lady  of  the  vulgar  rich  type.  The  settings  are  two 
interiors  and  one  exterior. 


A  Teaderfoot’s  Turn.  A  romantic  drama  in  four  acts. 
The  play  is  picturesque,  and  tells  a  story  of  Old  Mex¬ 
ico  and  Texas.  This  is  a  stirring  drama,  strong  in 
plot,  quick  in  action,  and  full  of  character.  Tt  has  a 
Western  tinge  of  characterization,  but  is  away  from 
the  beaten  path.  A  romantic  play  with  new  ideas, 
new  situations,  new  development  of  old  character¬ 
izations,  and  full  of  dramatic  situations.  The  pro¬ 
duction  can  be  easily  staged,  yet  has  every  opportu¬ 
nity  for  picturesque  dressing,  scenic  and  musical  dis¬ 
play.  Cast,  six  males,  (doubles  five)  three  females. 
Male  characters  are,  a  romantic  gambler,  a  Mexican 
dandy,  a  Texas  ranger,  an  Indian,  a  ranchman,  a 
young  Texan.  Females,  a  juvenile  lead,  a  romantic 
senorita,  and  German  character. 

This  is  one  of  the  best  of  Western  plays  and  has  been 
used  under  the  following  titles :  “A  Gambler’s  Ro- 
mance,’  'On  the  Frontier’  and  ‘A  Mexican  Romance, 


St.  Elmo,  of  The  Saving  Grace.  This  is  the  very  best 
dramatization  of  Augusta  Evans’  celebrated  and 
world  famous  novel  of  St.  Elmo,  which  is  having 
such  a  vogue.  The  action  of  this  version  is  compact, 
consecutive  and  consistent.  The  adapter  has  con- 
structed  all  the  dramatic  incident  of  the  book,  and 
has  interwoven  with  it  many  new  situations  of  heart 
compelling  interest,  joined  with  a  wealth  of  excel¬ 
lent  comedy,  and  has  compressed  all  in  an  enjoyable 
*•  and  most  “  actable  ”  play.  This  drama  will  be  equal- 
ly  entertaining  to  those  who  have  never  read  the 
novel  and  the  most  devoted  admirers  of  the  gifted 
authoress.  It  is  constructed  in  four  acts;  there  is 
one  set  to  an  act.  The  scenery  is  simple  but  can  be 
elaborated  if  desired.  The  play  depends  on  its  dra¬ 
matic  action  and  not  on  special  scenic  effects.  The 
cast  is  six  males  and  four  females,  which  may  be  re¬ 
duced  by  a  double  to  five  and  four.  St.  Elmo  ard 
Edna  are  both  “star  leads.”  There  are  excellent 
juvenile  “heavies”  for  lady  and  gentleman,  a  spark¬ 
ling  ingenue,  excellent  light  comedy,  a  grand  old  man 
and  other  striking  character  roles.  This  version  of 
St.  Elmo  is  well  worth  while.  It  is  bound  to  please 
any  and  all  classes  of  play  goers. 

We  have  also  a  special  dramatization  adapted  for 
the  use  of  Companies  of  more  limited  casts,  and  in 
which  all  the  sallient  virtues  of  the  above  celebrated 
version  are  preserved.  This  is  not  a  clumsy  cut-down, 
but  a  re-write  by  same  dramatist.  Can  be  done  by 
cast  of  four  males  and  two  females. 

Boss  of  Z  Ranch.  A  comedy  drama  in  four  acts.  The 
v  story  deals  with  life  in  Arizona;  the  incidents  are 
faithfully  drawn.  A  true  romantic  picture  of  the 
“cowboy.”  A  melo-dramatic  story  with  an  atmos¬ 
phere  of  refinement.  The  situations  are  stirring,  not 
lurid,  and  the  comedy  is  clean  cut,  natural  human 
r  types  of  the  West.  The  settings  are  simple,  yet  will 
permit  elaborate  arrangement.  Cast,  five  males  and 
three  females.  Characters  are.  juvenile  lead,  genteel 
heavy,  light  comedy,  character  comedy,  Mexican 
heavy.  Females,  juvenile,  ingenue  and  old  lady. 


Kentucky  Sue.  A  powerful,  absorbing  play  of  the  Ken¬ 
tucky  mountains,  in  which  the  characters  are  so 
finely  drawn  that  the  auditor  feels  he  has  really 
lived  among  and  known  them.  He  smiles  at  the 
joys,  sympathizes  with  the  sorrows  and  rejoices  at 
the  happy  ending,  Clem  Mason  i  s  an  admirable 
character  lead;  Kenneth,  an  excellent  heavy;  Rob¬ 
erts,  a  typical  mountaineeer;  Gus,  an  inimitable 
comedy  part  that  is  a  laugh  from  start  to  finish. 
Nell,  a  juvenile,  and  Sue,  the  star  role,  combining 
the  vitality  of  a  soubrette  with  the  tenderness  of 
an  ingenue.  The  scenic  arrangements  are  simple, 
there  being  two  mountain  landscapes  and  an  elab¬ 
orate  interior  and  kitchen.  Every  act  is  teeming 
with  bright  dialogue  and  quick  action.  The  situ¬ 
ations  are  natural  and  work  themselves  to  a  hap¬ 
py  ending  in  a  clear,  concise  manner.  This  play 
requires  a  cast  of  only  four  and  two,  (no  doubles) 
which  makes  it  an  admirable  bill  for  one  night 
stands  or  repertoires  with  small  cast.  (2142) 

Note:  We  also  have  a  version  of  this  play  calling  fora 
cast  of  3  ladies  and  5  men.  It  is  naturally  an  im¬ 
provement  on  the  6  people  version,  as  the  matter  ad¬ 
ded  is  in  the  nature  of  character  comedy  giving  at¬ 
mosphere  to  the  play.  The  Ackerman  &  Quigley  Co. 
of  Kansas  City,  has  special  printing  for  this  play. 

An  American  Drummer.  An  Irish  comedy  drama  in  four 
acts.  The  scenes  are  laid  in  Ireland.  Sensational 
and  melo-dramatic  in  incidents,  with  a  story  full  of 
heart  interest.  The  novelty  and  pleasing  fea¬ 
ture  is  the  introduction  of  an  “American  drummer." 
This  character  has  all  the  breeze  and  hustle  of  his 
class,  and  is  the  central  figure  among  the  trials  and 
conflicts  incidental  to  weaving  a  story  that  depicts 
the  life  of  an  Irish  peasant.  This  play  will  interest 
those  looking  for  an  Irish  drama  with  a  new  feature. 
It  is  adapted  for  repertoire  companies  and  amateurs. 
Easy  sets.  Full  cast,  six  males  and  four  females; 
doubles  for  three  or  five  and  two.  Can  be  done  by 
four  and  two. 


Beyond  Fardon.  Suggested  in  theme  by  Bertha  M.  Clay’s 
celebrated  novel,  but  a  brapd-new  play  in  construc¬ 
tion  and  stirring  incidents,  and  rich  in  its  abundance 
of  original  comedy.  Its  story— American— is  of  com¬ 
pelling  interest.  There  is  not  a  dull  moment  in  its 
development;  its  characters  do  something  worth 
while  all  the  time.  Though  thoroughly  up-to-date 
and  well  up  in  what  is  termed  the  higher  class  of 
plays,  its  action  moves  with  the  celerity  of  melo¬ 
drama.  It  is  thoroughly  clean  in  tone  and  teaches  an 
obvious  moral  lesson.  It  is  confidently  expected  that 
“Beyond  Pardon”  will  duplicate  the  success  of 
“St.  Elmo,”  financially.  It  is  the  best  opening 
bill  offered  for  some  time.  Its  cast  includes  four 
ladies,  (double  to  three)  and  six  males  which  double 
to  five.  There  is  an  admirable  heroine,  and  excellent 
masculine  lead;  splendid  light  comedian  and  ingenue, 
great  heavy,  and  characters  male  and  female.  Can 
be  elaborately  or  simply  staged;  nothing  special, 
“Beyond  Pardon”  is  well  worth  consideration.  (18151 

Her  Lord  and  Master.— Society  Comedy-Drama  in  four 
acts.  While  the  play  does  not  resemble  Bartley  Camp¬ 
bell’s  famous  success  “Fate”  in  story  or  in  character, 
it  is  of  the  same  general  style.  The  emotional  interest 
is  intense,  the  comedy  element  unusually  strong,  and 
the  sensational  features  make  it  equally  attractive  to 
the  gallery  and  the  parquet.  The  story  centers  around 
“Mildred  Page,”  an  excellent  role  for  an  emotional 
leading  lady,  her  scenes  calling  for  light  and  shade  in 
their  enactment,  with  very  effective  climaxes.  In  one 
act  she  assumes  the  disguise  of  an  old  hag.  Part  calls 
for  handsome  costuming.  “Tommy  Bean”  and  “Dickey 
Dodd”  are  two  typical  “chappy”  boys,  who  cause  un¬ 
limited  laughter.  “Bertie,  the  Lamb,”  in  “The  Henri¬ 
etta,”  is  a  similar  part.  “Nancy,”  a  product  of  the 
city  streets,  is  the  rough  soubrette;  “Andrew  Temple” 
is  an  old  man  on  the  “Duustan  Kirke”  orderl  “Hungry 
Crowe”  and  “Chicago  Jack”  are  two  “knights  of  the 
railroad  ties.”  It  is  an  ideal  opening  bill  for  the  better 
class  of  repertoire  companies.  Six  males  and  three 
females  are  required.  No  special  scenery  necessary. 


The  Minister’s  Child.  A  comedy  drama  in  four  acts.  A 
play  that  has  a  pure  and  wholesome  environment, 
with  a  coloring  of  intrigue.  It  is  the  “old,  old  story” 

A  woman’s  devotion  and  a  man’s  indifference.  He 
wanders  from  the  fold  and  falls  amidst  the  snares  of 
a  great  city.  His  final  redemption  is  a  woman’s  love.  - 
The  comedy  is  brilliant  and  the  dramatic  action  con¬ 
sistent,  with  strong  heart  throbs  that  are  not  strained 
to  reach  an  effect,  but  are  created  in  a  purely  natural 
manner.  A  beautiful  play,  giving  opportunities  for 
elegant  dressing,  and  lavish  display  settings.  An  ex-  * 
cellent  repertoire  bill.  Cast,  five  males  and  three 
females.  Males  are,  juvenile  lead,  genteel  heavy, 
light  comedy,  second  genteel  heavy,  old  man.  Fe¬ 
males,  ingenue,  comedienne,  emotional  adventuress. 

Mother  and  The  Boys.  A  four  act  comedy  drama 
teliiug  the  story  of  two  boys  who  are  equal  own 
ers  in  a  run  down  farm.  One  boy  chooses  to  try 
his  fortune  in  the  city  while  the  other  stays  with 
the  land.  The  former  qnickly  goes  to  ruin  among 
the  bright  lights  and  temptations  of  the  city,  while 
the  other  following  scientific  farming,  rises  to  af¬ 
fluence  and  wins  the  girl  of  his  choice.  The  love 
of  one  brother,  in  contrast  to  the  neglect  of  the 
other  for  the  widowed  mother,  forms  a  pathetic 
theme  that  is  relieved  by  the  rich,  wholesome  com¬ 
edy  that  runs  throughout  the  entire  play.  There  are 
many  chances  for  the  display  of  histrionic  ability 
and  a  number  of  new  and  novel  features  are  intro 
duced  in  such  a  manner  that  any  number  of  people 
may  be  used,  each  having  an  important  part  in  the 
play.  The  cast  calls  for  ten  men  and  seven  women, 
but  can  be  done  with  less  by  some  of  the  parts  A 
being  doubled.  No  special  scenery  is  required.  We 
cannot  recommend  this  play  too  highly  for  the  use 
of  amateurs  desiring  a  play  with  a  moral  and  a 
good  object  lesson.  (2435) 


Thelma. — A  new  version  and  undoubtedly  the 
best  dramatization  of  Marie  Corelli’s  fam¬ 
ous  novel,  which  in  story,  incident's  and 
characters  it  follows  closely.  This  play  is 
worthy  of  the  attention  of  high-class  stock 
*  and  repertoire  companies.  Under  a  com¬ 

petent  stage  director  the  play  can  be  fil¬ 
tered  to  any  demands  as  to  scenic  arrange¬ 
ments  and  size  of  cast.  There  are  many  op- 
r  portunities  for  splendid  scenic  and  elec¬ 

trical  effects.  Costumes,  Norwegian  and 
English.  Cast:  nine  males  (doubles,  seven), 
five  females  (doubles,  four).  Smaller  com¬ 
panies  can  omit  one  or  two  scenes  (which 
will  not  hurt  story)  and  do  the  play  nicely 
with  five  and  three. 

Good  as  Gold.  A  strong  play  of  western  mining  life  abound- 
ing  in  thrilling  situations,  and  full  of  good  naturaJ 
comedy.  A  play  that  tells  an  intensely  interesting 
story,  in  a.  manner  that  holds  the  attention  of  an 
audience  from  start  to  finish.  This  play  will  prove  an 
addition  to  any  repertire,  as  it  is  a  thriller,  without 
being  impossible  inconstruction.  The  characters  are  a 
romantic  leading  juvenile  part  for  man,  great  charac¬ 
ter  comedy  old  man,  two  strong  rough  heavies  and 
one  emotional  character  part.  Ladies  are  good  juve¬ 
nile  lead,  old  woman,  and  strong  character  comedy.  A 
rough  soubrette  (irish.)  Play  is  one  well  suited  for 
use  as  a  Saturday  night  bill,  or  for  air  domes.  (2024) 

Daughter  of  Erin,  A. — An  Irish  drama  in  four  acts.  .  Cast. 

six  males,  four  females.  An  up-to-date  play  that  is 
^  strongly  recommended  to  all  desiring  a  real  Irish 
comedy,  devoid  of  blood  and  thunder,  red  coats,  evic¬ 
tions  and  other  stereotyped  features.  The  plot  is  con¬ 
sistent  and  naturally  developed;  comedy  and  pathos 
f  are  intermingled  in  a  pleasing  manner,  and  each  act 
has  a  surprising  and  an  effective  climax.  Scenic  effects 
may  be  made  a  feature,  although  nothing  of  an  elab¬ 
orate  nature  is  necessary. 


Divorcons.--  A  powerful  satirical  comedy  in  three  acts, 
from  the  pen  of  Victor  Sardou.  The  atmosphere  is 
French.  The  theme  the  divorce  question.  The  com¬ 
edy  is  excellent.  The  story  contains  the  elements  of 
deep  human  interest.  A  young  and  vain  wife  dreams 
she  is  neglected  by  her  husband  and  encourages  the  - 
attentions  of  a  young  officer,  and  plans  to  secure  a 
divorce  and  marry  her  lover.  The  faith  of  the  hus¬ 
band  in  his  wife  is  supreme ;  it  never  falters.  By  a 
clever  artifice  he  shows  her  the  fallacy  of  her  argu¬ 
ment  and  the  shallowness  of  her  lover,  and  in  the  end  ' 
wins  her  affections.  The  sets  consist  of  three  hand¬ 
some  interiors.  Cast,  seven  males  and  three  females. 
Principal  characters  are  leading  ingenue,  middle  age 
light  comedy  male  character,  and  juvenile.  The  re¬ 
mainder  are  character  creations.  Play  can  readily 
be  cut  to  five  and  three. 


The  Gold  Diggers.  Comedy  drama  in  four  acts.  A  breezy 
Western  cyclone  telling  a  story  that  possesses  qual¬ 
ities  that  rouse  interest  and  demand  generous  recog¬ 
nition  from  lovers  of  melo-dramatic  situations.  The 
comedy  predominates  and  is  nicely  woven  among  the 
threads  of  the  love  story,  forming  a  harmonious  series 
of  “  rapid  action”  creating  pictures  that  call  for  p 
“third  curtain.”  The  scenes  are  laid  in  Arizona. 
Cast  contains  great  comedy  Jew  and  soubrette/  .Set¬ 
tings  simple,  Cast,  seven  males,  (doubles  to  five) 
three  females.  An  excellent  play  for  repertoirecom- 
pnnies.  This  is  a  ‘‘boiled  down  ”  version  of  “The 
Goldfields  of  Nevada.” 

That  Boy  of  Barker’s:  Domestic  comedy  in  four  act  \ 
While  the  story  of  the  play  is  one  of  considerable  inter  ^ 
est,  its  greatest  merit  lies  in  the  humorous  manner  in 
which  it  is  told.  It  may  be  described  as  a  farcical  com¬ 
edy  with  dramatic  climaxes.  The  characters  are  of  a 
rural  type,  the  principal  ones  being  a  farmer  boy  (sta^. 
role),  two  giggling  country  girls,  an  Irish  boy,  a  tramp, 
and  an  old  woman  whose  tongue  never  tires.  The  full 
cast  is  six  males,  four  females.  No  special  scenery 


The  Banker,  The  Thief  and  The  Girl.  A  modern  melo-drama, 
dealing  with  the  different  phases  of  life  on  the  great 
East  Side  of  New  York,  A  play  full  of  snap  and  go, 
that  tells  a  thrilling  story  that  will  hold  an  audi¬ 
ence  from  the  going  up  of  the  curtain  on  the 
first  act  until  it  falls  at  the  end  of  the  play.  A  splen¬ 
did  play  for  a  Saturday  night  offering.  Lots  of  sen¬ 
sation — lots  of  comedy.  Plenty  of  thrills,  and  last, 
but  not  least,  a  consistent  story  well  told.  Ti»6 
characters  are  an  excellent  lead  and  heavy,  good 
heroic  comedy  lead,  (detective)  unusually  good  char¬ 
acter  and  light  comedy.  Easily  produced.  Cast,  six 
men  and  three  women.  Full  line  of  pictorial  print¬ 
ing  at  Otis  Lithograph  Co.,  Cleveland,  Ohio.  (2088) 

Why  Lindy  Ran  Away.  This  is  a  new  comedy  drama  of 
laughter  and  tears,  and  one  that  touches  every  cord 
of  human  emotion  Lindy,  who  is  dominated  by  an 
unreasonable  father,  is  a  part  that  affords  the  widest 
scope  for  histronic  ability,  since  she  goes  from  the 
light  heartedness  of  a  mountain  girl,  to  the  very 
height  of  emotional  womanhood.  Abner  Lane,  her 
father,  is  a  strong  character  part,  with  individual¬ 
ity,  and  is  in  marked  contrast  to  the  sweet,  self  sac¬ 
rificing  Martha,  the  wife  and  mother.  Wes  Blake, 
the  mountain  youth,  and  Mrs.  Mayfair,  an  author¬ 
ess,  are  comedy  gems  of  the  first  water.  Nate  Hardy, 
the  miser,  is  a  capital  comedy  heavy,  and  Alfred 
Austrian,  the  civil  engineer,  is  a  fine  juvenile  lead. 
The  cast  calls  for  five  and  three,  but  can  easily  be 
played  with  four  and  three.  It  is  a  play  that  is  full 
of  merit,  every  character  finely  drawn,  a  story  of 
heart  interest,  and  in  all  a  play  that  will  appeal  to 
the  masses.  (208  ) 

97 ork  and  Wages.  -Sensational  drama  in  four  acts.  One 
special  set  required,  the  exterior  of  iron  works.  Heroic 
male  lead.  Excellent  rough  soubrette  and  low  comedy 
parts.  In  industrial  centers  the  play  is  uniformly  and 
extraordinarily  successful;  in  other  communities  it 
succeeds  on  its  own  merits,  because  it  contains  all  the 
elements  of  popular  success. 


Wife  In  Name  Only,  or  A  Girl’s  Mistake.  A  dramatic 

gem  in  four  acts.  The  motive  is  true,  of  intense 
nature,  and  is  brilliantly  handled.  The  story  i3 
thoroughly  American  and  natural.  The  dramatic 
elements  are  artistically  woven  into  a  truly  great 
play  that  possesses  heart  interest,  intense  pictures 
that  are  striking  and  free  from  inconsistency.  The 
comedy  is  pleasing,  bright,  modern  and  of  the  type 
that  appeals  to  intelligent  and  cultivated  people. 
A  feature  bill  with  strong  male  and  female  leads. 
Splendid  opening  play  for  repertoire  companies.  A 
strong  attraction  for  stock,  no  matter  of  what  class. 
Easily  produced.  Permits  of  elaborate  stage  set¬ 
tings,  and  modern  elegant  dressing.  Full  cast,  six 
males  and  three  females.  Can  be  played  with  five 
and  three,  (one  double)  also  four  and  three,  (two 
doubles.)  The  doubles  are  legitimate  and  easily  made 

Fool  of  Fortune,  A. — Comedy  in  four  acts,  lo¬ 
cality,  Chicago.  A  play  of  the  times  (to¬ 
day),  in  which  the  intrigues  of  the  Stock 
Exchange  and  the  schemes  of  the  pro¬ 
moter  are  related  in  a  vivid  manner.  Not 
a  dull  moment,  action  lively,  dialogue  crisp 
and  full  of  delightful  comedy  of  modern 
constructions.  Sets,  interior  Good  stock 
and  repertoire  bill.  An  excellent  play  for 
amateurs.  Cast:  five  males,  three  females. 
Male  characters  are:  light  comedy  lead, 
light  comedy  juvenile,  heavy  old  man  and 
character  comedy;  female,  ingenue,  juvenile 
and  character  old  woman. 

A  Soldier’s  Sweetheart.  Frequently  called  Our  Irish - 
American  Cousin.”  A  sensational  comedy^drama  in 
four  acts,  with  cast  of  two  ladies  and  six  men* 
which  by  easy  doubles  and  some  changes  may  be 
reduced  to  four  and  two.  This  play  is  one  of  the 
best  of  the  short  cast  pieces,  is  easily  staged  and 
always  gives  the  best  of  satisfaction.  It  tells  a  strong 
story.  The  star  part  is  a  typical  light  comedy  Irish 
character  strictly  up-to-date.  The  other  characters 
are  a  genteel  heavy,  good  old  man,  leading  juvenile* 
good  part  for  leading  woman,  and  excellent  sou- 
brette.  Play  is  well  adapted  for  amateur  uses. 


The  Whirlpocl.  i  comedy  drama  in  four  acts.  A  semi- 
Western  play.  The  action  of  the  first  act  takes  place 
in  New  York  (society  atmosphere)  the  three  follow- 
ing  acts  in  Montana.  The  story  is  intensely  and 
strongly  dramatic,  possessing  a  natural  heart  inter- 
*  est  and  ending  of  acts  which  are  striking  and  of  the 
type  that  '’‘go.”  The  comedy  has  two  shades  -  refine¬ 
ment,  and  that  wholesome  Western  flavor.  This  play 
has  the  elements  so  much  desired — refinement,  strong 
y  in  acting  points,  breezy  comedy,  coupled  with  rough 
and  ready  cowboy  realism.  The  leads  are  especially 
strong.  No  special  settings.  Cast,  six  mal^s,  (easy 
double  fiv  )  and  three  females.  (1980) 

What  A  Woman  Will  Do.  A  comedy  drama  in  four  acts, 
A  play  of  contemporaneous  interest  and  suspense 
which  does  not  cease  until  the  final  curtain.  It  has 
all  the  elements  which  go  to  make  up  the  real  and 
successful  play.  Its  profound  intensity  of  action  is 
relieved  by  brilliant  comedy.  Pathos  and  surprises 
abound.  Each  and  every  part  is  a  natural  character¬ 
ization  and  finds  its  prototype  in  life.  This  is  a 
drama  in  which  there  is  always  something  doing. 
It  has  a  Western  flavor  mixed  with  Mexican  pictu¬ 
resqueness,  a  line  of  characters  that  are  strong  and 
marked  with  individuality,  and  44  all  star  ”  list. 
Stock  and  repertoire  companies  wrill  find  this  an  ex¬ 
cellent  bill.  Two  sets,  one  interior  and  one  exterior. 
Cast  six  males  (doubles  five)  and  three  females. 


Lena  Rivers.  A  comedy  drama  in  four  acts.  This  is  a  faith¬ 
ful  dramatization  of  Mary  J,  Holmes  book  of  the 
^  same  name.  The  story  has  been  woven  into  a  pretty 

dramatic  acting  play.  The  quaint  sympathetic  at¬ 
mosphere  and  charming  love  story  are  retained,  the 
comedy  embellished.  The  play  is  easily  staged,  and 
will  always  find  warm  admirers  from  those  who  seek 
the  drama  in  its  purity.  Cast,  five  males  and  four 
females,  (double  three.)  Grandma  Nichols  doubles 
Mrs,  Graham. 


SELECTED 


LIST  OF  PLAYS 


That  are  particularly  suited  to 
the  requirements  cf 

* 

Schools  and  Colleges 

also 


Amateur  Societies 


The  following  plays  are  especially  recommended. 
They  call  for  little  or  no  special  scenic  effects; 
they  are  pure  in  tone  and  contain  nothing  to 
offend  the  most  refined  audiences.  They  are 
not  what  are  commonly  known  as  amateur 
plays,  but  include  some  of  the  best  and  most 
widely  known  dramatic  compositions  of  mod¬ 
ern  times. 


The  Breadwinner.  An  exceedingly  clever  story  of  every- 
day  life  and  common  people.  A  powerful  protest 
against  the  spread  of  the  divorce  evil.  An  answer  to 
Patterson’s  great  pro-divorce  drama,  “Rebellion.” 
Fred  Miller,  a  young  mechanical  genius,  is  happily 
married,  but  has  grown  discouraged  by  the  repeated 

*  failure  of  a  favorite  invention,  and  on  the  death  of 
his  baby  girl,  he  loses  heart.  He  neglects  his  wife, 
who  attempts  to  carry  on  the  home  by  giving  music 
lessons.  The  young  husband  descends  lower  and 

*  lower,  and  to  obtain  money  pawns  various  articles  he 
takes  from  the  house.  In  a  fit  of  desperation,  he 
mortgages  the  wife’s  only  possession,  her  piano,  with 
out  which  she  is  unable  to  continue  the  home.  This 
proves  to  be  the  last  straw  to  the  young  wife’s  for¬ 
bearance,  and  when  the  mortgagee  comes  to  claim 
the  property,  she  rebels.  A  quarrel  follows  and  the 
husband  leaves  in  anger.  She  then  obtains  a  posi¬ 
tion  in  a  department  store  where  she  meets  danger¬ 
ous  companions,  whose  temptations  are  more  iusidi- 
ous  than  open  sin.  To  the  neglected  wife  the  glimpses 
of  this  new  life  are  especially  appealing,  and  the 
tempters  seem  fair  to  win,  but  she  is  saved  by  a  lova¬ 
ble  priest,  who  comes  to  the  rescue  at  the  fateful 
moment.  A  long  sickness  follows,  during  which  the 
young  husband,  aided  by  the  same  priestly  influence, 
redeems  himself,  the  invention  becomes  a  success  and 
with  prosperity  comes  the  desire  for  reconciliation, 
at  first  the  young  wife  refuses,  but  the  priest  pleads 
the  divine  theory  of  forgiveness  and  all  ends  happily. 
The  characters  are  all  good,  the  priest  especially  so. 
The  adventuress  and  the  man  about  town  are  living 
types  of  a  dangerous  class  found  in  all  large  cities. 
The  young  husband  and  wife  are  capital  leads. 
Zach,  the  furniture  mover,  and  Mary,  the  heroine’s 
fussy  but  devoted  aunt,  are  good  character  parts  and 
“Billy”  is  a  splendid  youth  part.  Cast,  five  men  and 
three  women.  Scenery,  one  plain  and  one  fancy 

f  interior.  (20501 


College  Boys.  A  real  college  play,  that  teaches  a  powerful 
lesson  of  sterling  honesty,  and  the  friendship  and 
loyalty  to  ones  college  and  classmates.  Arch  Stanley, 
the  son  of  a  college  professor,  has  been  entrusted 
with  a  sum  of  money,  raised  for  the  relief  of  the  wid¬ 
ow  and  orphan  of  a  janitor,  fatally  injured  in  the 
service  of  Elmwood  college.  While  on  his  way  to 
deliver  the  same,  he  meets  Walter  Addison,  a  confi¬ 
dence  man,  whom  lie  regards  as  a  friend,  not  knowing 
his  real  character.  The  boy  is  persuaded  to  visit  the 
latter’s  room,  where  he  is  robbed  of  the  greater  part 
of  the  money.  He  delivers  the  rest  to  the  widow,  tak¬ 
ing  her  receipt,  of  which  he  is  robbed  later  by  Addi¬ 
son.  Arch,  keeping  his  secret,  returns  to  college,  and 
attempts,  by  saving  his  allowance  to  make  up  the 
lost  money,  Some  time  after,  Addison  visits  the  coll¬ 
ege  and  attempts  by  threats  of  exposing  Arch  to  his 
father  and  classmates,  to  force  the  latter  to  accept 
him  as  guest  and  present  him  to  Madeline  Morris, 
an  heiress,  to  whom  Arch  is  practically  engaged,  and 
upon  whose  wealth  Addison  has  designs.  Arch,  at 
first  refuses,  and  confides  in  his  chum,  Ed.  Seymour, 
the  captain  of  the  ball  team.  Ed.  immediately  be¬ 
comes  his  friend’s  champion,  advises  apparent  com¬ 
pliance  with  Addison’s  terms,  but  arranges  plans  to 
insure  the  latter’s  ultimate  defeat,  Ed  openly  an- 
nouces  his  intention  to  Addison,  and  the  affair  rapid¬ 
ly  developes  into  a  battle  of  wits  between  them.  By  a 
clever  turn  of  events,  Ed.  succeeds  in  completly  de¬ 
feating  Addison,  and  drives  him  in  disgrace  from  the 
town,  at  the  same  time  preserving  Arch’s  reputation. 
Ed  and  Arch  are  unusually  good  juvenile  leads,  and 
Addison  a  powerful  genteel  heavy  part.  The  comedy, 
of  which  there  is  an  abundance,  is  wholesome,  clean 
throughly  up-to-date,  without  insinuation  or  jibes  at 
college  institutions.  ‘’Fat,”  “Shorty’  and  “Porky’ ' 
are  real  boys,  not  the  inanities  generally  offered  as 
students.  Nellie,  Nancy,  Madeline  and  Grace  are 
naturally  girlish.  Zeke,  amateur  actor  and  chore  boy 
at  boardinghouse,  is  a  gem,  and  Susie,  maid-of-all- 
work,  is  a  splendid  part  of  the  “Sis  Hopkins”  type. 
“Lazy  Ike”  the  tramp,  who  assists  in  Addison’s  down¬ 
fall,  is  a  natural  philosopher,  and  proves  that  the 
“Knights  of  the  Road”  are  not  always  as  black  as  they 
are  painted.  Mrs.  Pilsen,  who  runs  the  boarding 
house,  is  an  excellent  character  part,  and  the  Pro¬ 
fessor  and  Colonel  Seymorare  good  old  men.  Cast: 
10  men  and  6  women.  Any  number  of  others  may  be 
utilized  as  chorus  or  auxiliaries.  The  piece  may  be 
played  either  as  strait  comedy-drama,  or  as  musical 
comedy,  as  opportunities  are  offered  for  introduction 
of  songs  and  specialties.  Scenery,  required,  very 
simple.  A  college  campus,  for  which  an  ordinary 
landscape  or  garden  may  be  substituted.  A  plain  old 
fashioned  interior,  and  a  rough  interiorof  “gym,”  for 
which  a  plain  chamber  may  be  used,  supplemented 
by  apparatus  from  regular  “gym.”  (1984 


I  he  Disappearance  of  Dora.  One  of  the  prettiest  comedy 
offerings  for  many  seasons.  Simply  and  charmingly 
written,  yet  with  a  vein  of  satiric  humor  irresistible 
in  it’s  blunt,  straightforward  truth.  Dora,  the 
motherless  daughter  of  Cornelius  Knickerbocker, 
»  the  great  steel  and  copper  magnate,  is  reared  in  the 
magnificent  solitude  of  their  country  home  by  her 
worldly  aunt.  Her  education  has  been  entrusted  to 
an  old  German  professor,  a  former  tutor  in  the  Im- 
^  perial  household.  He  is  an  idealist  of  highest  type, 
a  believer,  in  the  theory,  of  the  simple  life.  Dora, 
lonely,  romantic  girl,  has  accepted  his  theories,  and 
grown  restless  at  her  almost  regal  life.  She  is  anx¬ 
ious  to  go  out  among  the  humbler  people  and  spread 
happiness  and  contentment.  Her  opportunity  comes 
when  her  aunt  tries  to  force  her  into  marriage  with 
an  imbecile  member  of  the  British  aristocracy,  and 
Dora  persuades  the  reluctant  professor  to  run  away 
with  her.  They  go  to  a  village  in  New  Jersey  where 
Dora  tries  her  theories  of  universal  happiness.  The 
result  is  a  series  of  laughable  and  almost  tragic  hap¬ 
penings,  from  which  the  now  homesick  girl,  shocker, 
and  humiliated  at  the  hypocrisy  and  ingratitude  of 
her  pensioners,  is  rescued  by  her  father’s  junior  part¬ 
ner,  who  loves  her,  and  whom  Dora  herself  un¬ 
consciously  loves.  There  is,  of  course,  the  usual 
happy  result.  The  cast,  which  is  a  long  one, 
does  not  contain  a  single  poor  part—  even  the 
'‘bits”  are  excellent.  The  characters  are  all  types — 
Dora,  naive,  unsophisticated,  honest,  lovable —  her 
attempts  to4,dogood’’  create  the  tenderest  interest 
— no  better  girl  part  ever  written.  The  money-mad 
father,  the  worldly  aunt,  the  old  professor,  delight- 
k  ful  in  his  ignorance  of  practical  life,  the  sly  old  vet¬ 
eran,  his  slatternly  grand  daughter,  the  colored 
maid  who  resents  her  “Missie’s  ’sociating  with 
such  low  white  trash,”  the  minister’s  fanatic  wife, 
j  the  blustering  country  sheriff,  etc.  The  play  is 
especially  well  adapted  to  the  use  of  colleges, 
schools  and  amateur  societies,  as  well  as  to  profes¬ 
sional  companies.  Costumes  modern.  Scenery  re¬ 
quired,  an  elaborate  drawing  room  and  a  plain 
cottage  interior.  .  (2082* 


The  Fourth  Waltz.  Comedy  drama  with  songs.  Our 
latest  and  prettiest  ottering  for  colleges,  girl’s 
schools  and  amateur  societies.  A  story  as  light,  as 
daiDty  and  as  exquisitely  developed  as  that  of  Bar 
rie’s  masterpiece,  “Quality  Street.’7  The  locale  is 
American— a  small  town  in  Eastern  Ohio,  and  the% 
characters  are  almost  photographic  sketches  of  the 
types  invariably  found  in  “villages  off  the  map.” 
The  play  fills  a  popular  demand,  in  that  it  offers  a 
large  number  of  parts  for  girls.  The  cast  is  ter^ 
female  and  only  four  male  parts.  All  the  parts  are 
good,  worthy  of  careful  study,  and  not  mere  “fill 
ins”  to  support  the  leads.  Martha  is  an  old  fash¬ 
ioned  girl,  dangerously  near  the  line  of  “old  maid- 
hood”  and  lovable  in  her  gentle  charity  and  self- 
sacrifice.  Harriet  is  a  thoroughly  human  girl— the 
kind  that  scores  from  the  curtain’s  rise.  Cora, 
Lettie,  Agatha  and  Bessie  are  bright,  typical  Amer¬ 
ican  girls.  Mrs.  Malvern  is  the  stiff-necked  village 
censor  and  her  devoted  follower,  Miss  Simpkins,  is 
a  type  of  the  thin,  snappy,  narrow-minded,  dis¬ 
appointed  woman,  who  never  had  a  childhood. 
Hayward,  temporarily  “down  in  his  luck,”  is  the 
best  tramp  part  ever  written,  and  the  other  men 
are  each  excellent  in  their  different  lines.  The  play 
is  in  three  acts  and  is  easily  produced,  scenery  re¬ 
quired  being  a  garden,  a  parlor,  and  a  plain  cham¬ 
ber  or  ante-room.  Costumes  modern  light  summer 
gowns  for  acts  1  and  2,  and  pretty  party  dresses  for 
third  act. 

Note.— If  preferred,  this  play  may  be  produced  under  the 
titles  of  “The  Winning  of  Harriet,”  “Harriet's 
Romance,’’  “During  The  Fourth  Waltz,”  or  “When. 
The  Prince  Came/’  all  of  which  are  the  property' 
of  this  Company.  (2405) 


The  Girls  Decide*  One  of  those  quiet,  satisfying  little 
comedy  dramas.  It  is  the  old  story,  in  a  new  dress,  of 
that  never  ending  controversy— which  is  the  better, 
marriage  for  love  or  marriage  for  money.  A  middle 
aged  couple,  themselves  devotion  itself,  have  each  a 
^  daughter  by  a  previous  marriage,  whose  futures  are 
their  only  disagreement.  The  father  insists  that 
matrimony  without  the  wherewithall  for  luxury  is 
folly.  The  mother  on  the  other  hand,  insists  that 
love  is  the  proper  engineer  for  the  domestic  mac.hin- 
^  ery.  The  girls  in  deciding,  follow  the  wishes  of  their 
respective  parents — one  marries  a  poor  artist  for  love 
—the  other  a  wealthy  stock  broker,  for  position.  For 
a  while  fortune  smiles  on  the  money  couple,  while 
the  others  find  it  hard  to  make  both  ends  meet;  a 
baby  also  comes,  who  adds  to  the  struggle.  The  rich 
man,  grown  arrogant,  begins  to  despise  the  poor 
couple,  and  finally  orders  them  from  his  place.  The 
mother  takes  her  daughter’s  part.  The  wealthy  son- 
in-law  thereupon  bids  them  all  depart  aud  they  pre¬ 
pare  to  do  so,  when  a  message  arrives  announcing 
that  a  panic  has  wiped  out  the  entire  fortunes  of  the 
old  man  and  the  son-in-law.  The  wife  wishes  to  re¬ 
main  with  her  ruined  husband,  but  in  his  anger  he 
drives  her  away.  The  poorer  couple  take  the  parents 
to  their  own  home,  where  wo  find  them  a  year  later 
in  direst  poverty.  The  sheriff  arrives  with  a  tramp- 
ish  individual  to  whom  he  has  offered  the  alternative 
cf  accepting  the  position  or  being  locked  up  as  a 
vagrant.  The  unwelcome  visitor,  who  is  the  missing 
husband,  learns  that  his  wife  loves  him.  He  discloses 
himself  to  the  artist,  who  makes  him  welcome.  The 
creditors  become  insistent  whereupon  the  supposed 
tramp  produces  a  “roll,”  and  paying  their  claims, 
drives  them  sway.  A  novel  and  pretty  plan  is  then 
arranged  to  unite  husband  and  wife;  the  father  and 
mother  are  then  pleasantly  surprised,  the  prodigal 
removes  his  disguise,  and  all  ends  just  as  the  audi- 
V  ence  wanted  it  to.  Cast,  five  men,  four  women,  Not¬ 
withstanding  the  little  note  of  tragic  discord,  the 
piece  is  replete  with  plenty  of  light,  character  and 
low  comedy.  Scenery,  2  gardens,  plain  interior.  (2089 


IJttle  Miss  Mystery.  A  new  and  dainty  offering  for 
girl’s  schools  and  dramatic  societies,  when  a  large 
number  of  ladies  and  small  number  of  men  are  re¬ 
quired  in  cast.  (Cast  of  play  16  ladies  and  3  men) 
A  play  that  tells  an  intense  story  and  yet  abounds  in 
comedy  lines  and  situations  and  permits  the  intro-* 
duction  of  mnsical  numbers.  The  father  of  Ruth 
Heritage,  formerly  treasurer  of  an  Eastern  city,  has 
been  falsely  accused  of  misappropriation  of  funds 
and  is  a  fugitive.  •  Ruth,  acting*  upon  the  advice  0* 
friends,  changes  her  name  to  Mary  Morrison  and  en¬ 
ters  a  girl’s  school.  To  the  school  also  comes  Julia 
Coghlan,  daughter  of  a  famous  politician,  and  Her¬ 
itage’s  bitter  enemy  and  principal  accuser.  A  mishap 
proves  that  Ruth  is  under  an  assumed  name,  and 
later  she  is  shadowed  by  a  spy  to  a  cheap  hotel. 
In  the  accusation  which  follows,  Ruth  dare  not  tell 
the  truth  through  fear  of  her  father’s  arrest,  and  she 
is  placed  under  the  gravest  suspicion;  she  is  saved, 
however,  by  the  shrewd  investigation  of  the  Dean.  A 
confession  by  the  politician’s  lieutenant,  places  the 
theft  where  it  belongs  and  all  ends  happily.  A  pretty 
love  story  is  incidentally  introduced,  as  wrell  as  an 
abundance  of  school  comedy,  including  the  dress  re¬ 
hearsal  of  a  play  written  by  the  German  professor  of 
music.  Ruth  is  a  charming  heroine,  and  Bertha, 
the  blind  girl  a  most  lovable  character;  Hilda,  the 
Swedish  servant,  is  a  scream;  “Baby”  Astor,  the  ath¬ 
letic  girl,  and  her  only  rival,  “Mel”  Williams,  from 
Williamstown,  Massachusetts,  are  splendid  comedy 
parts;  Bessie,  honest,  blunt  Bessie,  is  another;  Julia, 
with  her  plebian  ideas  of  superiority,  provides  the 
mischief  making;  Miss  Mouser  is  a  good  character 
part  and  the  dean,  with  her  uncompromising  ideas  oV 
justice  and  honor,  is  a  glorious  ideal  of  womanhood; 
Henry,  the  page,  who  acts  the  villain  in  the  play,  is  a 
splendid  light  comedy  part;  Robert  is  a  manly  hero 
and  the  German  professor  a  gem  of  dialect  comedy 
Scenery  very  simple,  a  garden  with  set  house,  the  in¬ 
terior  of  a  gymnasium  and  a  plain  interior,  (2415) 


Snow  White.  A  musical  comedy,  or  extravaganza,  found¬ 
ed  on  the  old  fairy  tale.  Everybody  remembers— and 
what  happier  than  the  memories  of  childhood — 
when  they  cried  over  the  troubles  of  Little  Snow 
White,  the  persecuted  Princess,  laughed  at  the 
i  dwarfs,  sympathised  with  the  Prince,  hated  the  bad 
step-mother,  and  the  awfully  wicked  old  witch, 
with  her  poisoned  apple  and  her  magic  comb,  and 
how  we  all  rejoiced  when  the  good  personages  were 
rewarded  and  the  wicked  punished.  A  play  for  chib 
^  dren  and  grown-ups.  The  prettiest  and  daintiest 
offering  in  many  years.  Bright  comedy  without  the 
slightest  suggestion  of  coarseness.  The  play  is  in 
six  scenes — including  a  palace  interior,  a  dark  for¬ 
est,  a  cottage  interior  and  a  rocky  cavern.  It  af¬ 
fords  opportunity  for  elaborate  production,  yet  can 
be  given  effectively  in  a  very  simple  stage  setting. 
Oast,  fourteen  men;  double  to  ten,  and  six  women; 
as  many  chorus,  male  and  female,  as  desired.  The 
musical  numbers  were  especially  composed  by  Mr, 
Daniel  Dore,  leader  of  the  famous  New  York  Win¬ 
ter  Garden  productions,  which  is  a  guarantee  of 
their  originality  and  excellence.  They  are  published 
by  the  John  Franklin  Music  Company,  1531  Broad¬ 
way,  New  York  City,  from  whom  they  may  be  ob¬ 
tained  on  an  order  from  this  office.  Parts  all  good. 
Stage  managers  will  have  no  trouble  in  casting  this 
piece,  as  each  character  offers  opportunity  for  indi¬ 
vidual  recognition.  While  the  play  was  written  pri¬ 
marily  for  college  and  school  production,  it  will  ap¬ 
peal  strongly  to  professional  managers  desiring  mu* 
sical  attraction,  (2236> 

k 


Nancy  5tarts  a  Boom.  Bright,  clean  comedy  of  rural  New 
England.  A  wonderfully  human  story,  with  that  de¬ 
lightful  “homey”  flavor  that  made  the  “Old  Home¬ 
stead”  famous.  To  a  small  town  on  historic  Cape 
Cod,  called  for  several  reasons,  Woosam,  comes 
Nancy  Leigh,  a  young  Southern  orphan,  whom  un-> 
expected  reverses  have  forced  to  leave  school  and 
seek  employment.  The  town,  rich  in  business  pos¬ 
sibilities,  is,  typical  of  the  locality,  “sound  asleep.” 
Nancy,  wide  awake,  proves  a  needed  stimulant.  Sh^ 
soothes  the  prejudices  of  the  inhabitants,  arouses 
their  dormant  ambition,  provides  them  with  an  elec¬ 
tric  railroad,  and  places  the  “burg”  on  the  commer¬ 
cial  map.  Incidentally  she  proves  a  “Cupid”  for  the 
chronic  old  maids  and  bachelors,  and  wins  a  hus¬ 
band  for  herself.  No  play  in  recent  years  has  been  so 
rich  in  character  sketches.  Nancy  herself,  is  delight¬ 
fully  naive,  sweet  and  irresistable.  No  prettier  in¬ 
genue  part  ever  written.  William,  first  “page”  at  the 
school,  afterwards  clerk  for  Uncle  Abe,  in  Woosam, 
is  a  boy  part,  suitable  for  star  comedian.  Peggy, 
blunt,  honest,  lovable,  is  best  expressed  in  one  word 
—  charming.  Selfish  Imogene,  and  her  chum,  Ethel, 
are  sufficiently  detestable  as  Nancy’s  enemies.  Mrs. 
Winthrop-Courtney  is  the  small  town  aristocrat,  ar¬ 
rogant,  over-bearing.  Capt.  Silas  the  town  magnate, 
gruff,  but  tender  hearted,  is  a  great  character  part, 
and  Abe  Horton,  who  “keeps  store,”  Squire  Wiliiamt 
the  ship  owner,  and  Deacon  Dill,  the  town  clerk  and 
undertaker,  are  roles  in  which  failure  is  a  practical 
impossibility.  Wood,  the  promotor,  Miss  Swine- 
bourne,  and  Stephen,  the  colored  porter,  are  all 
good.  The  girls  who  work  in  the  store  and  the  vil¬ 
lage  quartette,  are  small  but  satisfactory  ‘  bits.”  Tbt 
play  affords  ample  opportunity  for  the  introduction 
of  musical  numbers,  specialties,  etc  Cast,  8  males, 
11  female  principals  and  any  number  of  extras  de- 
ired.  Scenery,  parlor,  plain  interior,  and  interior  *4 
small  country  store.  May  be  produced  simply  or 
elaborately.  Specially  recommended  for  stock,  and 
for  large  schools,  colleges,  societies,  etc,  (2371) 


A  Phillpine  Romance.  A  stirring,  semi-military  play, 
dealing  with  a  native  uprising  in  our  Atlantic  pos¬ 
sessions.  The  hero,  a  captain  of  U.  S.  Infantry,  loves 
a  young  American  girl,  visiting  in  Manila,  who,  am¬ 
bitious  for  his  future,  insists  that  he  shall  make  a 
^  name  through  heroic  service.  News  of  a  great  up¬ 
rising  reaches  head  quarters  and  the  hero  obtains 
permission  to  accompan  y  the  avenging  expedition, 
t  The  American  force  meets  with  a  series  of  defeats, 
and  is  finally  surrounded  by  the  marauding  savages, 
^  and  it  is  only  a  question  of  a  short  time  when  they 
will  be  at  the  mercy  of  the  enemy.  In  this  dilemma,  a 
friend  of  the  hero,  determines  on  a  t$p,  in  native  dis¬ 
guise,  through  the  enemy’s  lines,  in  an  attempt  to 
reach  a  deserted  wireless  station  some  miles  away. 
In  trying  to  carry  out  his  plan  the  friend  is  shot  in 
the  head.  The  hero  adopts  his  disguise,  takes  his 
place  and  saves  the  garrison.  The  friend  recovers, 
but  from  the  nature  of  the  wound,  all  recollection  of 
the  past  few  hours  has  been  blotted  from  his  memory. 
The  hero  determines  that  his  friend  shall  have  the 
credit  for  the  heroic  deed,  and  reports  accordingly 
to  his  superior  officers.  The  force  returns  to  Manila, 
where  the  friend  is  lionized,  and  where  a  report 
starts  that  the  hero  was  guilty  of  cowardice  under 
fire.  He  is  called  upon  to  explain  his  position  during 
the  action,  which  he  is  unable  to  do  without  betray¬ 
ing  the  fact  that  he,  himself,  sent  the  saving  message 
and  gave  credit  to  another.  He  finds  himself  doubted 
by  all,  except  the  girl,  who  comes  loyally  to  his  de¬ 
fense,  A  court  martial  is  ordered  and  disgrace  im¬ 
pends,  when  by  a  series  of  clever  deductions,  the 
truth  is  brought  home  to  the  commanding  officer, 
^  The  story  becomes  a  department  secret  and  the  usual 
happy  ending  follows.  Cast:  Eight  men,  doubles 
nicely  to  six,  and  three  women.  Any  number  of  supers 
may  be  used  in  second  act  if  desired.  Not  a  bad  part 
in  the  piece,  leads,  heavy,  characters  comedy,  all  ex- 
■  cellent.  Scenery :  Two  pretty  interiors  and  tropical 
drop,  with  fortifications.  (2046) 


The  Professors  Predicament.  —  An  exceedingly 
clever  play  built  on  the  broad  comedy  lines  of  “The  Priv¬ 
ate  Secretary,”  “The  Gilden  Fool,”  etc.  A  success  with 
all  classes 'of  audiences.  Available  for  both  professional 
and  amateur  production.  The  professor  is  a  great  part 
for  an  eccentric  comedian  full  of  laughable  dialogue  aqgi 
situations,  with  here  and  there  a  dash  of  the  heroics. 
Pansy  is  a  dainty  Ingenue  role  while  Alice,  Maude,  Con¬ 
stance  and  Ella  are  boistrous  school  girls  of  the  soubretle 
order.  Dick  and  Tom  are  capital  light  comedy  parts  and 
Staples  and  Featherstone  off er  excellent  opportunities  f^r 
good  character  work.  Other  parts  all  good.  Piece  may 
be  played  with  eight  men  and  eight  women.  Scenery  may 
be  elaborate  or  simple  without  detriment  to  play.  Cos¬ 
tumes,  modern  summer  dressing.  This  piece  is  especial¬ 
ly  well  adapted  for  college  and  society  production. 

College  Chums.  Do  not  confound  this  entirely  new  play 
with  the  cut-down  version  of  “Pals,”  produced  under 
the  same  title.  This  present  offering  is  stronger  in 
every  quality.  Its  story  is  infinitely  more  intense, 
its  action  more  compact,  its  interest  more  cumula¬ 
tive,  its  incident  more  abundant,  its  comedy  richer 
in  possibilities,  its  climaxes  and  curtains  more 
thrilling.  The  action  begins  at  Yale  University  and 
the  characters,  each  admirable  in  opportunities,  are 
carried  through  four  acts  of  engrossing  intererest, 
finishing  in  Northern  Idaho.  The  leading  parts  both 
male  and  female,  are  of  more  than  common  distinc¬ 
tion— the  heavies  among  the  best  of  their  kind.  A 
character  juvenile  of  super-excellence,  the  best  yet 
of  “palmy  day  legits;”  a  character  woman  that  is  & 
scream;  a  Western  sheriff  and  a  college  professor, 
both  fat  comedy  parts.  The  cast  includes  six  male*, 
(doubles  five)  and  three  females.  Scenic  effects  sim¬ 
ple.  Can  be  elaborated.  The  fight  in  the  last  act,  a 
special  feature,  comes  as  a  fitting  climax  to  a  nat¬ 
ural  sequence  of  exciting  events,  and  is  not  draggy*  ' 
into  the  play.  (1904) 


Our  Alma  Mater.  The  latest  and  the  best  of  all  plays 
dealing  with  college  life.  It  is  clean,  wholesome,  and 
abounds  in  vital  qualities,  while  brim  full  of  healthy 
comedy.  It  has  a  vein  of  serious  interest  and  points 
an  obvious  moral.  It  is  instinct  with  human  nature; 
^  the  American  student  is  photographed  with  absolute 
fidelity;  his  struggles,  his  trials,  his  rivalries  and  his 
associations  in  the  microcosm  of  college,  are  shown 
-v  in  a  series  of  truthful  and  interesting  stage  pictures. 

In  building  this  play  a  ripened  experience  in  dra- 
^  matic  construction  is  joined  with  a  love  for  the  high¬ 
er  ideals  and  nobler  aims  which  distinguish  the 
American  student  from  ail  others.  Our  Alma  Mater 
has  its  scene  in  an  imaginary  Western  university.  It 
is  equally  adapted  for  the  use  of  professional  dra¬ 
matic  companies,  and  college  organizations.  Its 
scenic  requirements  are  simple— can  be  elaborated  if 
desired.  It  admits  of  the  introduction  of  musical 
numbers,  marches  and  other  embellishments.  There 
are  twelve  principal  parts— seven  male,,  five  female, 
and  as  many  auxiliaries  as  desired.  Our  Alma  Mater 
will  alwoys  be  remembered. 

A  College  Oirl  Out  West,  A  breezy  Western  comedy  drama 
played  with  five  men  and  twelve  girls.  It  can  be 
produced  either  as  a  straight  comedy  drama,  or  by 
the  introduction  of  musical  numbers,  as  excellent 
musical  comedy.  Every  character  is  a  speaking  part 
and  has  a  place  in  the  telling  of  a  consistent  story, 
which  makes  it  an  admirable  play  for  schools  and 
colleges.  The  dressing  is  elegant  and  picturesque, 
as  there  is  a  pleasing  mixture  of  the  fashionable 
Eastern  society  with  the  typical  Western  costume. 
A  The  male  characters  are,  romantic  lead,  with  singing 
voice  if  possible,  eccentric  old  man,  genteel  heavy 
and  juveliles.  Female  characters  are  breezy  East¬ 
ern  girl  who  goes  West,  society  woman,  commedi- 
^  enne,  great  character  part,  and  other  ranch  and 
college  girls.  As  many  supernumaries  may  be  used 
as  desired  for  striking  ensembles.  (1311) 


The  Order  of  The  Yellow  Robe.  A  clean  comedy  of  mas¬ 
terly  construction,  abounding  in  incident  and  mirth 
provoking  episode,  rapid  in  action  and  cumulative 
in  interest.  The  characters,  all  male,  are  excellent 
and  easily  portrayed.  The  theme  deals  with  the 
efforts  of  a  well  meaning  pork  packer  to  get  into  so-^ 
ciety,  and  who  stumbles  on  a  confederate,  an  inno¬ 
cent  barber,  who  is  identified  with  a  Yogi  from  India, 
and  obliged  to  assume  the  character  of  a  Mahatma 
skilled  in  Veda  lore.  The  follies,  fads  and  foibles  of 
of  the  ‘"cult”  receive  a  good  natured  slap  in  the^  deT 
velopment  of  this  charming  play,  in  which  nothing 
whatsoever  offends.  There  are  ten  roles,  each  of  im¬ 
portance.  Auxiliaries  may  be  used  or  omitted  as 
desired.  There  is  but  one  set,  a  simple  drawing  room. 
The  costumes  are  modern,  “The  Yellow  Robe”  has 
no  peer  in  plays  requiring  an  all  male  cast.  (1887) 


The  Girls  of  Pallas.  An  original  comedy  drama  in  which 
the  characters  are  all  feminine.  It  is  a  college  play 
of  the  higher  class,  and'tells  a  story  of  unflagging  in¬ 
terest.  Its  scenes  are  laid  in  the  imaginary  Pallas 
University,  and  the  American  girl  student  is  shown 
with  photographic  fidelity.  The  play  is  vital,  healthy 
and  human:  its  plot  is  probable,  consistent  with  a 
defined  desire  of  development  and  elevation.  There 
is  an  abundance  of  sparkling  comedy,  and  nothing  to 
offend  the  most  fastidious.  In  the  progress  of  “The 
Girls  of  Pallas,”  is  shown  a  play  within  a  play— viz : 
a  rehearsal  for  a  lawn  peformance  of  Shakespeare’s 
“As  You  Like  It.”  An  admirable  opportunity  for 
the  display  of  elocutionary  talent  and  the  introduc¬ 
tion  of  musical  selections,  which  can  be  omitted  if 
desired,  including  incidentally  the  glees  of  Sir  HeniiX 
Bishop,  and  the  gems  of  Mendelsohn  from  “Midsum¬ 
mer  Night’s  Dream.”  There  are  nineteen  speaking 
parts  and  auxiliaries  and  choruses  ad  lib.  The 
scenic  effects  are  simple — can  be  elaborated  if  de^ 
ired.  This  play  is  a  dignified  offering,  worthy  and 
sure  to  please.  U889) 


The  Charity  Girl.  One  of  the  prettiest  school  plays  ever 
written.  May  be  given  as  either  musical,  or  straight 
comedy.  Mary  Fabian,  a  charity  scholar  at  Rock  hill 
school,  while  beloved  by  the  pupils,  is  treated  with 
great  severity  by  Miss  Cayenne,  the  botany  teacher, 

^  ^  and  Professor  Craven,  who  finally  have  her  expelled 
on  a  false  charge,  Mary,  who  is  discovered  to  be 
the  missing  heiress  to  a  great  fortune,  finally  dis- 
proves  the  charge  and  returns  in  triumph.  Two  pret- 
^  ty  love  incidents  provide  a  necessary  sentiment  to 
offset  the  predominating  comedy.  Characters  are  all 
good.  Mary  and  Carmen,  her  particular  chum,  are 
excellent  ingenues.  The  two  tramps,  the  Senator 
and  the  Judge,  are  capital  character  parts.  The 
heroes  are  all  that  heroes  should  be,  and  Miss  Cay¬ 
enne  and  the  sneaking  Professor,  are  fine  heavies. 
The  giggling  girl,  lazy  girl  and  the  dunce  are  all  good 
short  soubrette  roles.  Especially  available  for 
girls’  schools.  Cast,  eight  men,  eight  women,  and  as 
many  chorus  as  desired.  Scenery  is  simple.  A  light 
wood,  a  plain  interior  and  a  garden.  (2247) 


The  Perplexities  of  Peter.  A  musical  comedy  in  3  acts; 
Mrs.  Barbara  Flirtington,  a  giddy  young  widow  of 
fifty,  with  a  more  or  less  grown  up  family,  whom  she 
jocoselv  refers  to  as  “the  chicks,”  while  summering 
in  the  Catskills,  meets  one  Peter  Perkins,  a  guileless 
youth  of  thirty,  who  falls  a  victim  to  her  mature 
charms.  The  “chicks”  object  to  their  mother’s  mat¬ 
rimonial  aspirations,  and  proceed  to  make  Peter’s 
visit  a  decidedly  lively  one.  Then  they  suddenly  dis¬ 
cover  that  they  will  share  in  their  late  father  s 
property  if  their  giddy  mamma  marries  again,  and 
decide  in  favor  of  the  wedding.  Peter,  however,  dis¬ 
illusioned  by  the  “chicks’  ”  playful  methods,  de¬ 
clines.  A  breach  of  promise  suit  and  various  threats 
of  bodily  injury,  bring  poor  Peter  to  the  verge  of 
despair,  when  he  is  cleverly  rescued  by  a  chum,  who 
loves  one  of  the  “ehicks,”  and  an  impecunious  Ger¬ 
man  Professor  who  desires  the  widow.  The  synopsis 
gives  but  a  faint  idea  of  the  immense  comedy  possi- 
bilities  of  the  play.  Cast,  seven  men,  seven  women, 
chorus  if  desired.  C2248) 


Amateur  Minstrels 


We  can  supply  six  different  Minstrel  Programs,  com¬ 
plete  in  every  detail,  each  containing  all  gags,  songs,  dej 
scription  of  acts,  and,  in  fact,  everything  connected  with" 
the  entertainment  from  start  to  finish.  These  programs 
have  been  used  by  leading  professional  organizations  car3 
rying  performers  specially  engaged  for  each  number  of  th 
bill.  It  is  not  always  possible  to  find  available  talent  in 
an  amateur  company  to  present  some  of  the  features,  such 
as  acrobatic  acts,  feats  of  legerdemain,  etc.  Where  this 
difficulty  arises  we  are  prepared  to  furnish  material  to 
take  the  place  of  that  portion  of  the  entertainment,  and 
call  special  attention  to  the  “Gag  Book,”  “Georgia  Min¬ 
strels,”  and  Negro  Farces,  fully  described  on  other  pages  of 
this  catalogue.  With  these,  in  addition  to  one  of  the  Min¬ 
strel  Programs,  an  entertainment  can  be  arranged  that 
will  suit  any  style  of  talent,  and  in  them  will  be  found  ma¬ 
terial  for  several  other  performances,  by  simply  getting 
another  of  the 'Minstrel  Programs. 


WE  HAVE  ALSO  TWO 
Female  Minstrel  Programs 

That  have  been  arranged  for  Amateur  Female  Minstrel 
Organizations.  They  are  particularly  adapted  for  High 
Class,  Social  or  Church  Entertainments. 

Price  of  Minstrel  Programs,  -  -  -  $2.00  Each* 

“  “Georgia  Minstrels,”  -  -  •  2.00  “ 

“  “Gag  Book,”  ....  2.00  “ 

“  Negro  Farces, . 1.00  “  * 

By  sending  cash  with  order  any  two  of  the  Negro  Fai&. 
ces,  or  any  one  of  the  publications  mentioned  above,  will 
be  mailed,  post  paid.  Should  the  purchaser  wish  to  make 
a  selection,  on  receipt  of  $2.00  we  will  ship  C.  O.  D.,*  with 
privilege  of  examination,  selections  from  our  black  face 
publications  to  the  amount  of  $8.00,  and  allow  a  credit  of 
$2.00,  less  express  charges,  on  whatever  the  consignee  may 
wish  to  retain.  v 


LATE  ADDITIONS 

To  Our  List  of 

BLACKFACE  SKETCHES 

>  PRICE  *2,00  EACH 

Luiu.  One  of  the  best  of  the  old  time  blackface  sketches, 
Splendid  negro  part.  Good  old  man,  juvenile  man 
and  woman.  Two  scenes,  dark  wood  in  one  and  in¬ 
terior.  Plays  about  twelve  minutes,  This  act  never 
fails  to  ‘get  over’  in  splendid  shape. 


An  Exchange  of  Compliments,  Quick  fire  sketch  for  two 
blackface  comedians.  Clever,  up-to-date,  a  laugh  in 
every  line.  Capital  introduction  for  singing  or  dan¬ 
cing  specialty.  Scene,  street  in  one.  Plays  about 
ten  minutes. 

Stranded,  Screaming  blackface  sketch  for  two  men.  Un-V 
usually  good  part  for  low  comedian.  Two  minstrels, 
the  sole  survivors  of  a  troupe,  while  wending  their 
way  on  foot,  back  to  civilization,  camp  for  the  night 
in  an  old  country  graveyard,  where  many  and  varied 
are  the  mysterious  things  that  happen.  Scene,  dark 
wood.  Plays  about  fifteen  minutes. 

He  Wooedi  Then  He  Wouldn’t.  Blackface  sketch  for  three 
men,  one  to  play  wench.  A  brilliantly  written  satire 
on  what  may  happen  when  women  get  the  vote.  A 
colored  Adonis,  after  vigorously  wooing  a  dusky 
Juliet,  suddenly  decides  not  to  marry;  The  maiden, 
Jk  however,  who  has  been  following  the  trend  of  the 
suffrage  movement  for  advancement,  decides  other¬ 
wise.  She  drags  the  would  b©  delinquent  to  the 
church,  and.  aided  by  the  powerful  eloquence  of  the 
parson,  convinces  the  lover  that  his  personal  safe¬ 
ty  lies  only  in  matrimony.  One  of  the  surest  of  sure 
hits.  Scene,  country  landscape,  W’ith  set  church. 
Plays  about  twelve  minutes. 


List  of  Negro  Farces 


All  Acts  in  this  List  One  Dollar  Each 

This  list  embraces  a  number  of  one-act  farces,  in  which  tty 
eading  comedy  part  is  played  in  black  face.  They  were  the 
property  of  the  famous  negro  comedian,  Mr.  Cool  Burgess, 
and  have  been  played  by  him  in  the  leading  vaudeville  the*r 
tres  and  with  all  the  leading  minstrel  organizations  duriv 
the  past  fifteen  years.  They  have  never  been  published  arci 
are  now  the  exclusive  property  of  the  Chicago  Manuscript 
Company.  They  are  replete  with  ludicrous  situations, 
-right  dialogue  and  strong  comedy  climaxes.  There  is  noth- 
ng  of  a  suggestive  nature  in  them,  and  ihey  will  please  the 
m ost  refined  audiences.  They  are  especially  adapted  for 
use  in  minstrel  or  vaudeville  entertainments,  for  opening 
or  closing  he  performance.  Time  of  representation  from 
15  to  25  minutes. 

Necromancer,  The.  2  men;  black  and  white  face.  Time 
of  representation  15  minutes. 

Three  For  Yes,  Oiie^For  No!  3  men.  Time  of  represen¬ 
tation  20  minutes. 

Four  Dollars  a  Week.  2  men.  Time  of  representation 
15  minutes. 

the  Rehearsal.  3  men.  Time  of  representation  20  min* 

ntes. 

Doctor’s  Shop.  3  men.  Time  of  representation  15  min. 
utes. 

How  D’ye  Dike  the  Place.  2  men  and  2  ladies.  Time 
of  representation  25  minutes. 

The  Sleep  Walker.  3  men  and  1  lady.  Time  of  represent 
tation  25  minutes. 

A  Trip  to  Paris.  4  men  and  1  lady.  Time  of  representa¬ 
tion  20  minutes. 

The  Obliging  Servant.  3  men.  Time  of  representation*^ 
15  minutes. 

>lr.  and  Mrs.  Brown.  2  men  and  1  lady.  Time  of  repie 
mentation  20  minute®. 


Musical  Entertainments 


Wo  have  three  Musical  Reviews  which  are  of  the  nature 
«£the  entertainments  given  at  the  Weber  &  Fields  Music 
Hall.  Each  is  divided  into  three  parts,  the  first  consisting 
of  a  comedietta  or  short  extravaganza,  introducing  popular 
tffusical  selections,  male  and  female  choruses,  comedy  sit 
^prions,  bright,  sparkling  dialogue  and  novel  features  in 
ensembles,  etc.  Each  of  these  playlets  is  complete  in  itself 
and  concludes  with  a  chorus  from  one  of  the  late  musical 
comedies. 

The  second  part  consists  of  an  olio  the  character  of 
which  depends  upon  the  nature  of  the  available  talent. 

The  third  division  of  the  performance  is  adapted  from 
one  of  the  standard  light  operas,  each  being  arranged  with 
a  view  of  simplifying  the  production  and  still  retaining 
the  gems  of  the  vocal  numbers,  the  sparkle  of  the  dialogue 
and  brightest  of  the  mirth-provoking  situations. 

The  stage  directions  are  so  clearly  given  that  experience 
in  stage-craft  is  not  necessary  for  successful  production. 
The  music  is  all  within  the  scope  of  any  company  of  good 
singers  and  does  not  require  operatic  training  for  itj 
rendition. 


THE  PRICE  OF  THESE  REVIEWS  IS  $5.00  EACH, 


Musical  Entertainment  No,  1 

NUMBER  ONE  CONTAINS: 

PART  ONE. 

The  Debutante’s  Lawn  Party.  — A  musical  burlesque. 
Plays  one  hour.  This  clever  burlesque  possesses  all 
essential  features  of  success,  catchy  music,  bright  dia 
logue  and  the  novel  “Scarf  dance.”  Costumes  to  suit 
the  occasion.  Scenery  easily  arranged.  Cast:  fivema&s 
and  two  females.  Chorus,  male  and  female.  ^ 

PART  TWO. 

A  Female  Stump  Speech.— An  up-to-date  theme  for  a 
strong-minded  woman.  Plays  twelve  minutes. 

PART  THREE. 

The  Village  Belle. — A  snappy  comical  farce.  Plays  forty 
minutes.  A  sure  laugh  winner.  Costumes  modern.  A 
kitchen  scene.  Cast :  two  males  and  one  female. 

PART  FOUR. 

The  Mash  I  Made.— A  burlesque  on  Andreas’  comic  opera, 
“La  Mascotte.”  Plays  one  hour.  This  burlesque  is 
fresh,  cnsp  and  original,  sprinkled  with  music  from 
“La  Mascotte.”  Costume  play.  Scenery  not  difficult. 
Cast :  six  males  and  two  females.  Choruses,  male  and 
female. 


Musical  Entertainment  No.  2 

NUMBER  TWO  CONTAINS. 

PART  ONE. 

God  of  Love.— A  semi-classical  and  picturesque  burlesque 
written  in  blank  verse.  Playsonehour.  Though  pitch*! 
in  low  tones  the  action  is  pervaded  with  musical  num¬ 
bers,  marches  and  a  vein  of  quiet  humor.  The  general 
ensemble  is  very  effective.  Costumes  varied.  Scenery 
simple.  Cast :  four  males  and  five  females.  Choruses, 
male  and  female. 

PART  TWO. 

Reckless  Rube.— A  monologue  A  humorous  story  of  a 

“rube’s”  experience. 


PART  THREE. 

The  Queen  of  Bohemia.— A  musical  burletta,  Plays  one 
hour.  This  particular  bright  and  amusing  comedy 
abounds  in  cheerful,  humorous  dialogue,  tuneful  songs, 
catchy  music  and  dances.  Every  character  is  good  and 
h  affords  abundant  opportunity  for  effective  work.  Cos¬ 
tumes  modern  or  fantastic.  Scenery  easily  arranged. 
Casts  six  males  and  one  female.  Choruses  of  villagers, 
4Lmale  and  female. 


Musical  Entertainment  Noo  3 

NUMBER  THREE  CONTAINS: 

PART  ONE. 

Navajo.— A  picturesque  musical  burlesque.  Plays  one 
hour.  This  is  a  new  and  original  burletta.  It  is  an  In¬ 
dian  fantasy  introducing  the  poetical  character,  “Hia¬ 
watha. There  is  a  field  for  the  presentation  of  pic¬ 
turesque  groupings,  Indian  dances  and  characteristic 
music.  The  comedy  element  is  very  funny.  Costumes 
modern  and  Indian.  Scenery  simple.  Cast :  three  males 
and  two  females.  Choruses  of  Indian  squaws,  chiefs 
/  and  papooses. 


PART  TWO. 

You’ll  Find  Me. — A  farcical  comedy.  Plays  twenty  min¬ 
utes.  This  is  a  most  unique  little  play.  The  servaht 
characterization  is  very  comical.  Costumes  modern. 
Scenery  simple  in  arrangement.  Cast :  three  males  and 
one  female. 


PART  THREE. 

at  Interlude. — A  comic  quartette. 

PART  FOUR. 

T£e  Yachting:  Party.— A  musical  burlesque.  Plays  one 
^Q>our.  The  action  takes  place  on  board  a  yacht.  This 
^^burletta  is  founded  upon  presumably  nautical  mate- 
!  rial,  highly  exaggerated  incidents  and  language,  with 
•  the  introduction  of  airs  from  popular  comic  operas, 
satilor  dances,  choruses,  etc.  Costumes  yachting,  sail¬ 
ors.  Scenery,  a  yacht,  easily  arranged.  Cast:  six  males 
1  and  two  females.  Choruses,  sailors,  charity  girls,  etc. 


OUR  CATALOGUE  OF  '  ] 

Copyrighted  Plays 

All  of  which  are  tried  out  successes,  including  Dramas^ 
Comedies,  Farces,  Melodramas  and  Musical  Comedies, 
This  list  is  complete  and  includes  the  latest  additions^. 


OTJR  LIST  OF 

Copyrighted  Musical  Comedies 

We  Have  Over  Fifty  of  these,  all  especially 
adapted  to  the  needs  of  small  musical  shows.  (Cast, 
five  or  six  people.) 

OUR  LIST  OF 

Copyrighted  Dramatic  Tabloids 

We  have  Over  One  Hundred  of  these,  all 

of  which  are  our  own  copyrighted  property.  They 
comprise  the  best  in  comedy,  drama  and  farce  comedy. 


Any  of  these  Lists  Sent  Free  on  Application, 

THE  CHICAGO  MANUSCRIPT  CO.  ‘ 


431  N.  CALRK  ST. 


CHICAGO,  1LI 


